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GENERAL   EDITOR 


EDWIN  FAIRLEY 

HEAD   OF   THE   ENGLISH    DEPARTMENT,   JAMAICA   HIGH   SCHOOL, 
NEW    YORK   CITY 


Clje  TSatncs  dEnglisI)  Ceits 

GENERAL   EDITOR 

EDWIN  FAIRLEY 

Head  of  the  Department  of  English, 
Jamaica  High  School,  New  York  City 

POE.   LONGFELLOW,   WHITTIER: 

The  Raven,  The  Courtship  of  Miles  Standish,  Snow- 
bound.    One  volume. 

Edited  by  Charles  Elbert  Rhodes,  Head 

of  the  Department  of  English,  Lafayette 

High  School,  Buffalo,  N.Y. 

STEVENSON: 

Treasure  Island 

Edited  by  Ferdinand  Q.  Blanchard 

ELIOT: 

Silas  Marner 

By  the  General  Editor 

HAWTHORNE: 

The  House  of  the  Seven  Gables 

Edited  by  Emma  F.  Lowd,  Head  of  Depart- 
ment of  English,  Washington  Irving  High 
School,  New  York 

SHAKESPEARE: 

Julius  Ccesar 

Edited  by  Charles  Addison  Dawson,  Ph.D., 
Head  of  the  Department  of  English,  Central 
High  School,  Syracuse,  N.Y. 
Merchant  of  Venice 

Edited  by  Charles  Robert  Gaston,  Ph.D., 
Head  of  the  Department  of  English,  Rich- 
mond Hill  High  School,  New  York  City 
Macbeth 

Edited  by  Clarence  W-  Vail,  Manual  Train- 
ing High  School,  Brooklyn,  N.Y. 

AMERICAN  POEMS: 

Edited  by  Ernest  Clapp  Notes,  Depart- 
ment of  English,  Peabody  High  School, 
Pittsburgh,    Pa. 


Ctje  IBatnes  OBngUist)  Ceits 


THE  MERCHANT  OF  VENICE 


By  WILLIAM   SHAKESPEARE 

EDITED    BY 

CHARLES  ROBERT  GASTON,  Ph.D. 

HEAD   OF    THE    ENGLISH    DEPARTMENT,    RICHMOND   HILL    HIGH 
SCHOOL,    NEW   YORK   CITY 


NEW  YORK 

THE  A.   S.  BARNES  COMPANY 

1914 


COPYRIGHT  I914,  BY 
THE  A.  S.  BARNES  COMPANY 


THE* PLIMPTON* PRE88 
NORWOOD«MASS«U*8*A 


PREFATORY  NOTE 

In  the  preparation  of  this  edition  of  a  Shakespearian 
play,  the  editor  has  had  constantly  in  mind  the  read- 
ing of  the  play  as  a  play.  Shakespeare  meant  that 
his  audiences  should  have  some  rollicking  fun  out  of 
The  Merchant  of  Venice,  It  would  be  a  shame  for 
boys  and  girls  to  read  the  play  in  school  without 
feeling  something  of  the  spirit  of  fun  in  the  comedy. 
Hence,  in  the  introductory  material  and  in  the  com- 
ments, topics,  and  questions  at  the  back  of  the  book 
there  is  nothing  that  ought  to  take  the  pupil's  mind 
away  from  the  great,  outstanding  point  that  The 
Merchant  of  Venice  is  a  good  lively  comedy  to  be  en- 
joyed today  as  well  as  it  was  enjoyed  by  the  happy 
Elizabethan  audiences. 

The  editor  wishes  to  acknowledge  his  indebtedness 
to  the  Variorum  edition  of  Furness  and  to  the  useful 
suggestions  given  to  him  by  his  wife  during  the  prep- 
aration of  the  present  edition. 


284398 


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in  2007  with  funding  from 

IVIicrosoft  Corporation 


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CONTENTS 

PAGE 

Prefatory  Note v 

Who  Was  Shakespeare  ? ix 

The  Merchant  of  Venice  as  a  Play xii 

The  Merchant  of  Venice  as  Literature xvii 

Suggestions  for  Class  Dramatization xx 

Reference  Books xxiv 

Text  of  The  Merchant  of  Venice 3 

Detailed  Questions  of  the  Play 103 

Comments,  Topics,  and  General  Questions 107 

Program  of  Dramatic  Entertainment Ill 

Glossary H^ 


WHO  WAS  SHAKESPEARE? 

There  are  so  many  conflicting  views  about  Shakespeare 
that  the  average  person  frequently  asks  the  question,  Who 
was  Shakespeare?  The  answer  can  be  briefly  given.  His 
birthplace  was  Stratford-on-Avon,  and  he  was  born  in  1564. 
The  register  in  the  Stratford  parish  church  shows  that  Wil- 
liam Shakespeare  was  baptized  there  in  April  of  that  year. 
His  mother  was  Mary  Arden,  daughter  of  a  well-to-do  farmer. 
His  father  was  a  prosperous  man  who  became  head  alderman 
of  Stratford  when  his  son  was  seven  years  old,  but  who  later 
failed  in  business.  The  birth-house,  still  standing  and  pre- 
served as  a  museum  for  Shakespeare  relics,  was  a  substantial, 
half-timbered  structure  better  than  the  usual  run  of  English 
country-town  homes.  WiUiam  Shakespeare  had  a  distinctly 
better  send-off  than  most  of  the  boys  of  his  town. 

In  his  youth  he  went  to  the  Stratford  grammar  school, 
where  he  obtained  the  foundations  for  further  reading.  He 
very  likely  studied  Latin  in  the  grammar  school,  for  that 
was  one  of  the  usual  subjects,  and  possibly  he  studied  Greek. 
Somewhere  he  learned  a  little  French.  He  became  so  much 
interested  in  reading  that  he  did  a  good  deal  of  it  during 
his  life,  as  his  method  of  work  which  is  presently  to  be 
explained  clearly  indicates. 

When  strolling  players  or  regular  companies  of  actors 
came  to  Stratford  at  the  invitation  of  the  town  council, 
young  Shakespeare  was  not  the  last  among  the  lads  of  the 
town  to  defy  the  Puritan  sentiment  of  the  day  and  go  and 
revel  in  the  plays  presented.  It  is  not  certain  precisely 
what  it  was  that  sent  Shakespeare  to  London  by  and  by  to 
earn  his  living.  It  may  have  been  a  desire  to  go  on  the 
stage.  It  may  have  been  the  urgent  necessity  of  providing 
as  well  as  possible  for  his  wife  and  three  children.  It  may 
have  been  merely  the  lure  of  the  big  city  to  the  young  man 
from  the  country  town.     At  any  rate,  Shakespeare  made  the 


X  WHO   WAS   SHAKESPEARE? 

hundred  mile  journey  to  London  about  1586,  and  began 
working  around  the  theater  at  odd  jobs.  He  boarded  with 
a  French  family,  the  Mountjoys,  whose  name  is  remembered 
now  only  because  of  their  having  had  as  a  lodger  a  man 
who  became  one  of  the  greatest  of  authors.  Plays  were 
given  then  on  the  south  bank  of  the  Thames,  outside  the 
city  limits,  owing  to  the  state  of  feeling  on  the  subject  of 
playgoing.  Shakespeare  joined  Lord  Leicester's  company 
of  players,  first  as  an  under-study  and  then  as  a  regular 
actor. 

Soon  he  was  composing  plays  himself.  There  was  a 
steady  demand  for  plays,  since  audiences  insisted  on  novel- 
ties. Two  or  three  weeks  sufficed  to  tire  the  audiences  of 
almost  every  play  presented,  and  something  new  was  con- 
stantly sought  for.  Shakespeare  began  to  satisfy  the  demand 
by  re-furbishing  old  plays  and  gained  considerable  skill  as 
a  practical  playwright.  He  would  take,  too,  a  book  that 
he  had  read  and  that  he  found  to  have  some  dramatic  idea 
in  it  and  work  the  book  over  into  a  good  play.  For  instance, 
he  did  this  with  a  tiresome  novel,  "Rosalynde,"  and  made 
a  beautiful  little  comedy.  As  You  Like  It.  He  did  it  also  with 
North's  translation  of  Plutarch's  lives  of  famous  Romans 
and  made  the  stirring,  full-blooded  tragedy  of  Julius  Ccesar, 
When  he  was  about  thirty  years  old,  he  did  this  sort  of  thing 
supremely  well  when  he  produced  The  Merchant  of  Venice. 
In  this  he  combined  an  old  English  ballad,  a  play  that  has 
since  been  lost,  and  a  translated  Itahan  novel  into  one 
artistic  comedy. 

Some  of  his  plays,  as  The  Merchant  of  Venice^  were  pub- 
lished during  the  life  of  their  author,  but  most  of  them  did 
not  appear  in  print  till  after  his  death.  The  Merchant  of 
Venice  was  first  printed  in  1600.  As  men  who  wrote  plays 
did  not  consider  publication  worth  while,  publishers  some- 
times obtained  the  words  of  popular  plays  from  actors  who 
had  learned  the  lines  or  from  manuscript  copies  used  by 
companies  in  their  rehearsals  of  the  plays.  A  printer  named 
James  Robertes  first  published  The  Merchant  of  Venice.  It 
is  considered  probable  that  he  had  as  the  basis  for  the  text 


WHO   WAS   SHAKESPEARE?  xi 

of  his  edition,  which  is  known  as  the  First  Quarto,  a  manu- 
script written  by  Shakespeare  himself. 

Shakespeare  was  a  convivial  spirit,  enjoying  meetings 
with  his  friends  in  the  London  taverns.  His  plays  abound 
in  realistic  pictures  of  scenes  with  which  he  became  familiar 
while  he  was  spending  his  time  in  talk  and  song  at  the  taverns. 
Here  he  acquired  knowledge  of  all  kinds  of  human  charac- 
teristics and  people.  There  was  a  perfect  swarm  of  enthu- 
siastic young  dramatists  who  frequented  the  London  inns. 
Among  Shakespeare's  boon  companions  were  some  of  the 
most  popular  playwrights  of  the  time,  like  Christopher  Mar- 
lowe, the  best  known  of  all.  As  a  step  beyond  writing  plays 
Shakespeare  became  part  owner  of  a  theater  and  made 
what  was  considered  a  fortune  in  those  days. 

His  relations  with  his  family  during  this  time  are  not 
entirely  clear.  While  he  was  prospering  in  London,  he 
provided  for  his  family  in  Stratford,  and  his  wife  and  chil- 
dren he  appears  to  have  visited  at  infrequent  intervals. 
His  son  died  in  1596;  his  father,  in  1601.  In  1597  Shake- 
speare bought  a  pretentious  estate  in  Stratford,  which  he 
leased  for  a  term  of  years;  he  did  not  move  there  him- 
self till  four  years  before  his  death.  He  was  looked  up  to 
as  one  of  the  important  personages  of  his  native  city,  and 
secured  a  coat  of  arms  for  his  family. 

In  1616,  on  April  23,  his  birthday,  he  died,  leaving  in 
Stratford  a  good  many  people  who  loved  him  well,  in  Lon- 
don a  number  of  friends  who  respected  his  powers  and  had 
affectionate  regard  for  him,  and  in  England  a  larger  body 
of  people  who  had  heard  of  the  playwright  and  actor  mana- 
ger, WilHam  Shakespeare.  It  was  not  until  years  after  his 
death  that  his  reputation  became  world-wide. 

How  can  we  account  for  Shakespeare's  having  been  able 
to  write  his  great  plays  .^  The  answer  is  a  little  complicated. 
We  often  ask  how  some  great  person  was  able  to  accom- 
plish some  great  deed  and  find  it  diflficult  to  give  a  direct 
answer.  There  are  usually  combinations  of  circumstances 
that  make  the  great  work  possible.  In  Shakespeare's  case  a 
number  of  facts  help  us  to  come  to  some  sort  of  understand- 


xii  WHO   WAS   SHAKESPEARE? 

ing  as  to  how  he  did  what  he  did.  He  had  a  good  start  in 
a  good  town  and  came  from  good  stock.  He  had  enough 
schooHng  to  want  to  learn  things  by  reading.  He  had 
enough  adversity  to  call  out  his  best  powers.  He  met  enough 
people  to  get  insight  into  all  kinds  of  life;  he  certainly  knew 
hosts  of  folks.  He  knocked  around  in  the  big  city  enough 
to  realize  how  immensely  diversified  and  yet  how  funda- 
mentally simple  human  nature  is.  He  had  practical  appren- 
ticeship in  the  theater.  He  learned  just  what  people  liked, 
and  he  had  an  extraordinary  knack  in  giving  it  to  them. 
He  worked  prodigiously,  yet  he  had  plenty  of  time  for 
relaxation  in  social  companionship.  His  craftsmanship  or 
skill  as  a  literary  and  dramatic  workman  came  as  a  result 
of  his  steady,  long-continued  work.  His  technical  ex- 
cellence might  not  have  given  him  fame,  but  sweeping 
through  all  his  work  and  making  it  all  permanently  valu- 
able was  his  grasp  of  human  nature;  it  was  this  power  of 
understanding  people  that  made  his  work  of  abiding 
value.  He  charted  human  nature,  like  a  man  making  a 
map  of  the  world.  This  he  was  able  to  do  because  of  his 
range  of  acquaintance,  his  sympathy  with  the  high  and  the 
low,  the  rich  and  the  poor,  noblemen  and  commoners.  He 
is  as  fresh  today  as  when  his  plays  were  first  acted.  We 
account  for  his  lasting  quality  by  saying  that  he  was  a 
real,  big-hearted,  companionable  human  being  —  and  that 
he  was  a  genius.  He  had  the  magic  power  of  changing 
commonplace  or  generally  known  stories  into  universally 
appreciated  plays  abounding  in  lifelike  characters. 

THE  MERCHANT  OF  VENICE  AS  A  PLAY 

The  word  play  hardly  needs  definition  in  these  days  when 
play  going  is  the  most  popular  indoor  diversion.  Almost 
every  one  knows  that  a  play  is  a  performance  of  a  story 
by  actors  for  the  pleasure  of  an  audience.  Not  all  play- 
goers, however,  know  a  good  play  from  an  inferior  one. 
If  the  reading  of  The  Merchant  of  Venice  in  school  will  cul- 
tivate in  boys  and  girls  a  taste  for  what  is  good  in  drama. 


THE   MERCHANT  OF  VENICE  AS  A   PLAY       xlii 

surely  the  time  spent  will  be  fruitful.  There  is  hardly  any 
one  so  benighted  as  not  to  desire  an  appreciation  of  the 
best  things  in  the  world.  The  gaining  of  a  taste  for  what 
are  the  best  things  in  literature  and  art  and  music  is  one  of 
the  most  valuable  results  of  education.  Good  plays  are  not 
like  olives,  which  some  people  can  never  acquire  a  taste 
for;  a  taste  for  good  plays  comes  easily.  After  reading  a 
play  hke  The  Merchant  of  Venice,  students  should  have 
fairly  well  defined  ideas  of  what  are  good  plays  and  what 
are  inferior  plays. 

Some  playgoers  are  not  famihar  with  the  technical  dis- 
tinction between  comedy  and  tragedy  as  special  varieties 
of  dramatic  performances.  A  comedy  comes  out  happily, 
a  tragedy  ends  in  misfortune.  There  are  smiles  in  come- 
dies, tears  in  tragedies.  A  comedy  abounds  in  humorous 
talk  and  comical  situations;  a  tragedy  contains  wise  and 
solemn  sentiments  and  terrifying,  gloom-producing  situa- 
tions. The  general  air  of  one  is  bright  and  cheery,  of  the 
other  dark  and  sorrowful.  Yet  each  may  be  splashed  a 
little  with  the  qualities  of  the  other,  for  the  sake  of  contrast. 
In  a  comedy  things  may  look  serious  for  the  hero,  but  he 
is  able  to  buffet  aside  his  troubles  and  ride  the  waves  to  a 
happy  ending.  In  tragedy,  scenes  of  drunken  humor  or 
witty  remarks  here  and  there  may  lend  emphasis  to  the 
prevaihng  despair  which  engulfs  the  hero  in  the  end  when 
he  is  borne  down  by  the  circumstances  which  he  cannot 
control. 

The  Merchant  of  Venice  is  a  comedy.  When  Shakespeare 
wrote  the  play  he  wanted  a  theme  that  would  appeal  to  his 
audience  as  humorous.  He  wanted  somebody  to  hold  up 
on  the  center  of  the  stage  for  ridicule.  If  he  had  been  writ- 
ing in  our  day  he  might  have  taken  an  Irishman,  for  Irish- 
men have  long  been  centers  for  amusement  on  the  modern 
stage.  Or  he  might  have  taken  a  colored  man  and  had  him 
open  his  mouth  wide  and  show  his  red  lips  and  white  teeth 
and  seem  funny.  He  might  have  taken  a  farmer  and  had 
the  audience  laugh  at  his  discomfiture  when  some  one  sold 
him  a  gold  brick.     Instead,  he  took  a  Jew  and  held  him 


xlv       THE   MERCHANT  OP  VENICE   AS   A   PLAY 

up  to  ridicule.  This  is  not  any  indictment  of  Jews  in  gen- 
eral, and  people  who  read  the  play  now  do  not  so  take  it. 
In  fact  some  of  the  most  celebrated  actors  make  out  Shake- 
speare's great  comic  character,  Shy  lock,  to  be  more  sinned 
against  than  sinning.  They  make  the  audience  sympa- 
thize with  Shylock;  they  smooth  out  with  a  sort  of  spir- 
itualized interpretation  the  rough  comedy  element  which 
Shakespeare  intended  to  put  into  his  characterization  of 
Shylock. 

The  fact  is  that  there  was  in  London  about  the  end  of 
the  sixteenth  century  a  strong  feeling  against  Jews.  Mar- 
lowe had  won  success  with  his  tragic  drama,  The  Jew  of 
Malta,  with  which  Shakespeare  was  familiar.  Moreover, 
a  certain  Jewish  physician  had  roused  the  hatred  of  the 
populace  by  attempting  to  poison  Queen  Elizabeth.  It  is 
extremely  probable  that  Shakespeare  brought  out  his  Mer-' 
chant  of  Venice  when  he  did,  in  order  that  he  might  take 
advantage  of  a  feeling  of  the  day  and  have  large  and  sat- 
isfied audiences.  The  rough  characterization  of  Shylock, 
then,  is  to  be  taken  as  just  the  sort  of  thing  that  a  drama- 
tist with  his  ear  to  the  ground  would  do  now;  it  is  not  an 
insult  to  Jews  of  today  in  any  sense.  Nowhere  in  the  world 
are  people  of  that  race  more  protected  than  in  the  English- 
speaking  nations.  Shakespeare  merely  put  his  comedy  on 
the  stage  at  the  time  when  he  did  and  of  the  kind  that  he 
chose,  in  order  to  appeal  to  the  taste,  feelings,  and  preju- 
dices of  the  end  of  the  sixteenth  century  in  London.  Authors 
'  of  the  early,  crude  religious  plays  had  made  Judas  or  the 
Devil  the  comic  hero;  Shakespeare  held  Shylock  similarly 
up  to  ridicule,  for  Shakespeare  knew  that  his  audience  would 
relish  the  comic  characterization. 

In  Shakespeare's  comedy  of  The  Merchant  of  Venice  are 
blended  two  main  stories  or  plots  which  are  intertwined 
with  each  other  and  with  an  interesting  little  romantic  sub- 
ordinate story.  Remember  —  plot  means  pith  of  a  story. 
In  the  study  of  literature,  plot  does  not  necessarily  mean 
some  attempt  to  take  a  person's  life  or  steal  his  property 
or  overthrow  his  government,  though  plots  of  stories  some- 


THE   MERCHANT  OF  VENICE   AS   A  PLAY        xv 

times  cover  such  actions  as  these.  The  plot  of  a  play  is 
the  main  series  of  happenings.  The  Merchant  of  Venice 
contains  two  main  series  or  plots.  The  title-page  of  one 
of  the  early  editions  of  the  play,  the  Second  Quarto  pub- 
Hshed  in  1600,  suggests  the  two  main  plots.  Here  is  the 
title-page,  the  vertical  lines  marking  what  were  ends  of  lines 
as  the  title-page  was  originally  printed: 

The  most  excellent  |  Historie  of  the  Merchant  |  of  Venice  |  With 
the  extreame  .crueltie  of  Shylocke  the  Jewe  |  towards  the  sayd  Mer- 
chant, in  cutting  a  just  pound  |  of  his  flesh:  and  the  obtayning  of 
Portia  I  by  the  choyse  of  three  chests.  |  As  it  hath  beene  divers 
times  acted  by  the  Lord  |  Chamberlaine  his  Servants.  |  Written 
by  William  Shakespeare.  |  At  London,  |  Printed  by  I.  R.  for  Thomas 
Heyes  \  and  are  to  be  sold  in  Paules  Church-yard,  at  the  |  signe  of 
the  Greene  Dragon.  |  1600.  | 

The  first  main  plot  is  the  one  centering  around  the  attempt 
of  the  Jewish  money  lender,  Shylock,  to  obtain  a  pound 
of  the  flesh  of  his  business  rival,  the  merchant  of  Venice, 
Antonio.  Antonio,  in  order  to  accommodate  his  friend 
Bassanio,  who  desires  money  to  go  to  Belmont  to  court 
a  beautiful  heiress  named  Portia,  borrows  a  sum  of  money 
from  Shylock)o''As  Antonio  thinks  his  ships  will  be  in  port 
long  before  the  expiration  of  the  three  months  for  which  he 
borrows  the  money,  he  signs  a  bond  giving  Shylock  the 
right  to  cut  off  a  pound  of  flesh  from  Antonio  if  the  loan 
is  not  repaid  on  time.  Shylock  pretends  to  make  the  con- 
dition merely  in  sport,  but  he  really  hopes  to  get  revenge 
on  Antonio  for  lending  money  without  interest  and  for 
spitting  on  Shylock  and  generally  abusing  him.  When 
the  time  comes,  Antonio  has  not  the  money  to  pay, 
and  Shylock  demands  his  pound  of  flesh.  He  is  foiled 
through  the  legal  interpretation  of  Portia,  who  impersonates 
a  lawyer.  Shylock  has  to  agree  to  become  a  Christian,  to 
give  half  his  property  to  Antonio  to  use  for  Shylock's 
son-in-law,  and  has  to  agree  to  make  a  deed  giving  to 
his  daughter  and  his  son-in-law  all  the  property  that  he 
shall  be  possessed  of  at  his  death.  In  this  main  plot 
are  included  a  number  of  less  important    characters,    like 


xvi        THE   MERCHANT   OF  VENICE   AS   A   PLAY 

Gratiano,  who  tries  to  cheer  up  the  serious-minded  Anto- 
nio, but  these  minor  characters  and  happenings  need  not 
be  included  in  a  summary  of  the  first  main  plot.  This  story 
may  be  called  the  Antonio-Shylock  story,  or  tlie  bond  story 4 

The  second  main  story  centers  around  Bassanio  and  Por- 
tia. Bassanio,  with  the  money  secured  by  Antonio  from 
Shylock,  fits  out  his  retinue  and  goes  to  Belmont,  not  far 
from  Venice,  there  to  try  to  win  the  heiress  Portia  as  his 
wife.  He  is  successful  in  choosing  the  one  of  the  three  chests 
or  caskets  which  contains  Portia's  picture  and  so  by  the 
terms  of  her  father's  will  he  marries  her.  As  she  loves  liim 
anyway,  the  choice  of  the  caskets  has  proved  doubly  for- 
tunate. Gratiano,  a  friend  of  Bassanio  and  Antonio,  gains 
permission  to  marry  Nerissa,  the  lady  attendant  upon  Por- 
tia. While  the  company  are  rejoicing  at  Belmont,  news 
comes  of  Antonio's  plight.  Bassanio  hurries  off  to  do  what 
he  can,  but  his  efforts  seem  vain.  Portia  has  followed  her 
husband,  disguising  herself  as  a  lawyer.  Receiving  instruc- 
tions from  a  learned  jurist,  she  is  able  to  save  Antonio  from 
Shylock's  revenge.  After  the  trial  is  over  she  returns  to 
Belmont,  where  she  is  soon  joined  by  Bassanio  and  Gratiano. 
This  main  story  is  known  as  the  Bassanio-Portia  story.  It 
also  includes  in  its  action  several  characters  not  named  in 
the  above  summary,  and  obviously  some  of  the  characters  of 
this  casket  story  are  important  figures  also  in  the  bond  story. 

The  romantic  side  story  to  which  reference  has  been  made 
has  to  do  with  the  family  affairs  of  Shylock.  He  has  a 
lovely  daughter,  Jessica,  unlike  him  in  every  respect;  where 
he  is  a  miser,  she  is  a  spendthrift;  where  he  hates  the 
Christians,  she  admires  them  and  loves  one  of  them;  where 
he  is  harsh  and  severe,  she  is  kind  and  gentle.  She  flees  his 
home,  taking  with  her  some  of  his  treasure,  and  marries  a 
Christian,  Lorenzo.  Lorenzo  and  Jessica  are  entertained 
at  Belmont  and  take  care  of  the  estate  while  Portia  and 
Bassanio  are  trying  to  save  Antonio  in  Venice. 

The  play  is,  then,  a  comedy,  with  the  principal  elements 
as  mentioned  in  the  preceding  summaries.  The  comical 
talk  and  situations  need  some  study.     Punning  is  a  consid- 


THE   MERCHANT   OF   VENICE   AS   LITERATURE    xvii 

erable  part  of  the  humor  in  EHzabethan  plays.  Attempts 
to  play  on  words  make  up  the  humor  in  some  scenes.  This 
verbal  fencing  is  not  so  much  appreciated  and  enjoyed  by 
modern  audiences  as  it  was  by  those  in  Shakespeare's 
time.  Cascades  of  sententious  talk  lend  a  touch  of  gaiety 
to  the  conversation  of  such  characters  as  Gratiano.  There 
is,  too,  a  chance  for  buffoonery  in  the  play,  especially  in  the 
actions  of  the  young  servant  Launcelot  Gobbo,  who  sky- 
larks with  his  bhnd  father.  The  ring  incident  or  episode  ■ 
is  also  a  comical  situation,  affording  actors  a  chance  for 
fun-making  by  facial  expression,  gestures,  etc.  —  by  what/ 
is  technically  called  stage  business.  Playgoers  will  find  it 
entertaining  to  turn  over  in  their  minds  after  a  good  per- 
formance of  The  Merchant  of  Venice  just  what  parts  of  the 
play  made  the  spectators  laugh  and  what  it  was  about  the 
amusing  parts  that  made  the  audience  think  them  amusing. 
A  study  of  the  witty  remarks  and  the  comical  situations 
will  well  repay  the  reader  of  the  play. 

As  a  good  play.  The  Merchant  of  Venice  goes  even  ahead 
of  Shakespeare's  other  comedies  in  its  Hvely,  interesting, 
and  human  characters.  In  good  plays,  the  people  seem  pos- 
sible, seem  to  show  traits  that  we  have  seen  in  real  life.  Let 
the  student  of  the  play  try  to  find  from  his  own  experience 
parallels  to  the  persons  of  this  Shakespearian  drama.  While 
being  a  good  acting  play,  The  Merchant  of  Venice  has  also 
much  merit  as  a  literary  composition.  Let  us  consider  this 
phase  of  the  play  separately. 

THE   MERCHANT  OF  VENICE   AS  LITERATURE 

The  Merchant  of  Venice  is  acknowledged  to  be  a  master- 
piece of  literature.  It  is  written  in  both  prose  and  poetry. 
The  prose  is  excellent  of  its  kind.  Sometimes  it  is  well 
balanced,  formally  correct.  Sometimes  it  is  informal  in  the 
extreme,  even  ungrammatical.  But  the  greater  part  of  the 
play  is  written  in  verse  form. 

The  form  of  poetry  adopted  by  Shakespeare  for  his  plays, 
including  The  Merclmnt  of  Venice,  is  known  as  blank  verse. 


xviii    THE   MERCHANT   OF   VENICE   AS   LITERATURE 

In  this  kind  of  verse  the  lines  are  unrhymed.  That  is,  the 
end  of  a  Hne  has  not  the  same  sound  as  the  end  of  the  next 
or  of  some  corresponding  Hne.  Each  hne  contains  five 
accented  syllables.  Each  accented  syllable  is  preceded  by 
an  unaccented  syllable.  Read  the  hues  that  follow,  pro- 
nouncing the  words  with  the  accent  where  it  ordinarily 
belongs  in  each  word,  and  you  will  see  what  representative 
lines  of  blank  verse  look  like  and  sound  like: 

You  have  too  much  respect  upon  the  world: 
They  lose  it  that  do  buy  it  with  much  care. 

(I,  1,  74-75) 
V 
That  light  we  see  is  burning  in  my  hall. 
How  far  that  little  candle  throws  his  beams! 

(V,  1,  89-90) 

The  technical  name  for  a  line  of  poetry  constructed  like 
those  just  given  is 

Iambic  Pentameter, 

Iambic  has  reference  to  the  relative  position  of  the  ac- 
cented and  unaccented  syllables.  A  group  consisting  of  an 
unaccented  syllable  followed  by  an  accented  syllable  is 
called  an  iambic  foot. 

Pentameter  has  reference  to  the  number  of  feet  in  a  line. 
A  line  containing  five  feet  is  called  a  pentameter  line. 

There  are  in  Shakespeare's  The  Merchant  of  Venice  many 
variations  from  this  standard  type  of  hne.  Some  of  the 
pentameter  lines  show  considerable  change  from  the  standard 
type  illustrated  above.  Point  out  the  variations  that  you 
discover  in  the  following  lines  selected  from  the  first  act  of 
the  play.  One  can  sometimes  remove  the  irregularity  by 
pronouncing  the  words  differently  from  the  current  way  of 
pronouncing  them;  for  instance,  accent  Portia  on  the  first 
and  the  last  syllable,  and  you  find  one  of  the  fines  resolving 
itself  into  a  regular  iambic  pentameter  Hne. 

Your  mind  is  tossing  on  the  ocean  (I,  1,  8). 

Vailing  her  high-top  lower  than  her  ribs  (I,  1,  28). 

Not  in  love  neither?    Then  let  us  say  you  are  sad  (I,  1,  47). 


THE   MERCHANT   OF   VENICE  AS   LITERATURE     xix 

Lie  all  unlocked  to  your  occasions  (I,  1,  139). 

To  find  the  other  forth,  and  by  adventuring  both  (I,  1,  143). 

To  Cato's  daughter,  Brutus'  Portia  (I,  1,  166). 

I  hate  him  for  he  is  a  Christian  (I,  3,  40). 

Shy  lock,  although  I  neither  lend  nor  borrow  (I,  3,  59). 

Is  not  so  estimable,  profitable  neither  (I,  3,  156). 

There  are  some  passages  written  in  only  four  feet  to  a 
line,  and  some  passages  show  rhyme.  The  writing  on  the 
scroll  in  the  caskets,  for  instance,  is  in  a  different  measure 
from  the  usual  form  of  line  in  the  play,  and  is  in  rhyme  also 
instead  of  being   unrhymed. 

A  curious  effect  for  variety  is  obtained  by  some  of  the 
short  lines  of  the  play,  such  as  this: 

I  am  to  learn  (I,  1,  5). 

Another  variation  comes  from  the  starting  of  a  line  by 
one  speaker  and  the  taking  up  of  the  line  by  the  next  speaker 
so  as  to  complete  it.  From  parts  of  the  speeches  of  two 
persons  one  pentameter  line  is  thus  produced:   e.g., 

Ant.    And  mine  a  sad  one. 

Gra  Let  me  play  the  fool. 

(I,  1,  79) 

Besides  following,  for  the  most  part,  a  regular  form  of 
versification,  the  play  abounds  in  groups  of  lines  which 
from  their  contents  and  method  of  expression  have  appealed 
to  lovers  of  poetry  as  showing  a  high  order  of  poetic  beauty. 
Two  of  these  groups  may  be  selected  as  examples  for  special 
comment.  "The  man  that  hath  no  music  in  himself"  is  a 
phrase  sure  to  be  appreciated  when  it  is  quoted  in  the  edi- 
torial column  of  a  newspaper  or  by  some  one  in  casual  con- 
versation. The  'passage  from  which  the  line  is  taken  is  very 
well  known  for  its  good  idea  and  its  beautiful  expression. 
Yet  in  one  of  the  allusions  in  it,  it  suggests  one  of  the 
difficulties  which  some  persons  find  in  appreciating  Shake- 
speare to  the  full. 

"And  his  affections  dark  as  Erebus" 


XX  CLASS   DRAMATIZATION 

When  the  dramatist  speaks  of  the  affections  of  a  person 
who  does  not  like  music  as  being  as  dark  as  Erebus,  he  is 
using  a  classical  reference  which  is  not  widely  known  now- 
adays. Similar  allusions  here  and  there  make  the  full 
comprehension  and  appreciation  of  some  of  the  most  poetic 
passages  diflScult  for  beginners.  The  more  one  has  read  in 
classic  literature,  the  better  one  can  understand  at  first 
reading  poetic  allusions  such  as  the  one  contained  in 
Lorenzo's  oft-quoted  discussion  on  the  subject  of  music. 

More  famous  than  the  quotation  just  referred  to  is  the 
passage  that  forms  a  turning-point  in  the  play,  the  passage 
in  which  Portia,  just  about  to  pronounce  judgment  against 
Shylock,  suggests  to  him  the  virtue  of  mercy.  This  speech, 
coming  as  it  does  just  before  the  climax  of  the  bond  story, 
is  in  a  particularly  impressive  position  in  the  play;  and 
the  speech  is  worthy  of  its  position.  See  the  simple  lan- 
guage of  the  selection.  Attribute  is  about  the  hardest  word 
in  it.  Listen  to  the  rhythmic  ease  of  the  lines  as  you  read 
them  aloud  to  yourself.  Observe  the  comparisons  by  which 
the  speaker  tries  to  make  clear  what  the  quality  of  mercy 
is.  Notice,  above  all,  the  lofty  tone  of  the  sentiment.  In 
"John  Halifax,"  a  character  of  the  story  preaches  a  sermon 
on  the  sentence, 

"  It  is  twice  blest; 
It  blesseth  him  that  gives,  and  him  that  takes: 
*Tis  mightiest  in  the  mightiest." 

Altogether  from  its  language  and  central  idea,  the  "  quality 
of  mercy  "  speech  has  unquestioned  claims  to  the  popularity 
which  it  enjoys. 

These  two  selections  are  merely  examples  illustrating  the 
poetic  beauty  which  the  discerning  will  enjoy  here  and  there 
in  The  Merchant  of  Venice. 

SUGGESTIONS  FOR   CLASS  DRAMATIZATION 

No  reading  of  The  Merchant  of  Venice  by  a  wide-awake 
class  would  be  complete  without  some  sort  of  dramatiza- 
tion of  the  play.     In  some  cases  the  crudest  sort  of  presen- 


CLASS   DRAMATIZATION  xxi 

tation  of  short  scenes  may  be  all  that  can  reasonably  be 
expected  from  the  class.  For  example,  the  day  before  a 
meeting  of  the  class  the  teacher  may  ask  Mary  Smith  to  be 
Portia  and  John  Jones  to  be  Morocco,  and  then  when  the  class 
meets  these  two  persons  of  the  drama  may  read  the  first 
scene  of  the  second  act  with  their  books  open.  If  the  teacher 
has  had  time  to  discover  any  latent  dramatic  ability,  she 
may  ask  a  particularly  clever  young  fellow  to  try  the  part 
of  Launcelot  and  another  the  part  of  Gobbo  in  the  second 
scene  of  the  second  act.  This  will  pass  off  fairly  well  with 
even  a  poor  reading,  but  will  be  rehshed  hugely  if  presented 
from  memory  by  two  lively  boys  standing  in  front  of  the 
class.  If  the  class  consists  of  all  girls  or  all  boys,  the  dram- 
atization will  be  possible  nevertheless,  for  it  is  well  known 
that  in  the  women's  colleges  successful  performances  of 
Shakespearian  plays  are  given  by  the  young  women  and  in 
Shakespeare's  time  the  women's  parts  were  taken  by  young 
boys.  Boys  and  girls  now  are  able  to  do  the  simple  drama- 
tizations here  recommended. 

But  the  best  results  from  class  dramatization  usually 
come  from  some  sort  of  volunteer  presentation.  Let  the 
class  organize  early  in  the  semester  into  a  dramatic  club, 
with  regularly  chosen  officers  or  a  committee,  one  member 
of  which  is  chosen  as  coach.  Let  it  be  understood  from  the 
beginning  that  an  entertainment  is  to  be  given  before  the 
end  of  the  reading  of  the  play,  and  that  all  details  are  to  be 
in  the  hands  of  members  of  the  class  dramatic  society,  with 
the  teacher  as  only  an  advisory  member.  Then,  along  to- 
ward the  end  of  the  study,  instead  of  assigning  for  some 
day  as  a  lesson  a  general  review  of  the  play,  let  the  teacher 
give  an  assignment  something  like  this: 

Entertainment  by  the  Class  Dramatic  Society, 

As  the  members  of  the  society  will  have  been  preparing 
for  such  an  announcement  from  the  very  beginning  of  the 
reading  of  the  play,  the  announcement  will  not  take  the 
class  by  surprise.  Rehearsals  will  already  have  been  held 
and  details  perfected  for  a  simple  little  presentation  of  se- 


xxii  CLASS   DRAMATIZATION 

lected  portions  of  the  play  —  enough  to  fill  the  period  full 
of  pleasure  for  the  participants  and  the  hearers.  It  would 
be  futile  to  attempt  to  give  more  explicit  suggestions  than 
these  for  the  dramatization,  inasmuch  as  the  brains  and 
powers  of  high  school  pupils  have  been  proved  by  experi- 
ence admirably  adapted  to  the  carrying  out  of  simple,  effective 
dramatizations  of  The  Merchant  of  Venice.  In  an  appendix, 
one  plan  worked  out  by  a  class  recently  is  given  in  full.  The 
teacher,  as  adviser  of  the  dramatic  society  of  the  class,  will 
have  given  aid  where  needed  for  the  selection  of  enough  from 
the  play  to  make  a  consecutive,  intelligible  performance. 
Sometimes  not  even  so  much  help  as  this  is  needed  by  the 
class,  because  the  elements  of  mystery  and  surprise  and 
voluntariness  are  powerful  factors  in  school  work. 

Enhanced  interest  in  the  final  performance  will  usually 
be  secured  by  a  preliminary  educational  campaign  something 
like  this.  Let  the  teacher  try  to  arouse  intelligent  interest 
in  Venice  by  securing  herself  or  asking  students  to  secure 
copies  of  Venetian  scenes  or  of  paintings  that  deal  with  Venice. 
For  instance,  postal  card  pictures  of  the  grand  canal  and  the 
Doges'  Palace  are  readily  obtainable.  Copies  of  Venetian 
paintings  by  Turner  are  fairly  common.  If  there  is  a  local  art 
gallery  the  class  may  very  profitably  be  taken  there  to  see  any 
pictures  of  Venetian  scenes.  Millais's  beautiful  representation 
of  Portia  may  be  procurable  in  copy;  the  original  is  in  the 
Metropolitan  Museum,  in  New  York  City.  Students  may 
possibly  be  able  to  bring  examples  of  Venetian  glass  or  of 
Venetian  inlaid  stick  pins,  or  something  of  the  sort.  Cer- 
tain students  may  be  assigned  the  pleasant  work  of  finding 
out  something  about  the  history  and  geography  of  Venice. 
Some  one  may  be  able  to  tell  a  good  deal  about  gondolas. 
The  idea  is  to  cultivate  before  the  performance  as  wide  a 
range  of  sense  impressions  about  Venice  as  possible;  for  by 
the  enrichment  of  the  pupils'  minds  in  these  respects  the 
entire  lack  of  scenery  in  the  class  presentation  will  not  be 
a  hindrance  at  all.  Rather  it  will  give  the  student  actors 
the  better  opportunity  of  creating  something  of  a  dra- 
matic atmosphere,  something  of  the  real  illusion  which  after 


CLASS   DRAMATIZATION  xxiii 

all  is  the  fundamental  sense  pleasure  of  theatrical  perform- 
ances. 

Again,  the  understanding  at  the  beginning  that  there  is 
to  be  a  performance  of  selections  from  the  play  will  serve 
as  an  incentive  to  attentive  reading  with  the  idea  of  master- 
ing the  pronunciation  of  words  and  the  acquiring  of  a  sense 
for  rhythmical  delivery  of  the  blank  verse.  The  students 
will  all  desire  to  be  able  to  express  intelligent  judgments 
as  to  the  success  of  the  performers  in  rendering  the  lines 
as  they  ought  to  be  rendered. 

Of  course,  the  greatest  incentive  of  all  will  be  to  read  the 
play  with  enough  attention  to  be  able  to  have  a  rational 
appreciation  of  the  shadings  of  character.  Thus  the  class 
will  desire  to  find  out  what  should  be  the  best  interpreta- 
tion of  the  character  of  Shylock,  how  such  minor  characters 
as  Gratiano  and  Lorenzo  should  be  played,  how  the  speeches 
of  the  clown  should  be  presented,  and  what  should  be  the 
mental  and  moral  characteristics  of  Portia  in  the  final  pres- 
entation. With  such  a  motive  as  this  inspiring  the  work, 
w^ork  becomes  in  the  nature  of  play. 

Finally,  however,  a  word  should  be  said  in  behalf  of  those 
teachers  who  are  conservative  regarding  dramatic  perform- 
ances. There  are  some  teachers  who  feel  that  young  peo- 
ple are  already  too  prone  to  enjoy  dramatic  representations. 
Such  teachers  will  undovfbtedly  prefer  to  limit  class  drama- 
tization to  the  simple  heading  of  selections  aloud  as  outlined 
at  the  beginning  of  this  section  of  the  introduction.  They 
will  use  this  oral  reading  of  the  play  as  a  means  for  bring- 
ing forward  the  backward  and  shy  pupils  who  might  not  be 
reached  at  all  with  only  a  final,  more  carefully  prepared  and 
rehearsed  dramatization.  In  such  cases  the  aim  of  the 
teacher  will  be  to  draw  out  the  shy  and  timid  ones  in  the 
informal  reading  or  speaking  of  the  parts,  as  well  as  to  arouse 
to  their  best  efforts  those  who  are  more  eager  to  get  into  the 
limelight.  Thus,  even  without  a  final  performance,  the 
whole  class  may  become  thoroughly  interested  and  excited 
by  the  stirring  story  contained  in  The  Merchant  of  Venice, 


REFERENCE   BOOKS 


REFERENCE  BOOKS 

1.  The  Variorum  Shakespeare.  The  Merchant  of  Venice. 
Edited  by  Horace  Howard  Furness,  Ph.D.,  LL.D.,  L.H.D.  J.  B. 
Lippincott  Company,  Philadelphia,  1888. 

This  volume  is  indispensable  for  the  teacher  and  very  interesting 
to  the  pupil.  The  boys  and  girls  who  are  interested  in  proper  cos- 
tumes, music  for  the  songs,  celebrated  actors,  or  the  feeling  in  the 
sixteenth  and  early  seventeenth  century  toward  Jews  in  England 
will  find  it  delightful  to  browse  around  in  the  Variorum  edition  of 
the  play. 

2.  A  Catalogue  of  the  Dramatic  Museum  of  Columbia  University, 
in  the  City  of  New  York. 

This  pamphlet  may  be  obtained  by  teachers  who  will  write  to 
the  university  for  it.  The  prefatory  note  by  Professor  Brander 
Matthews  is  particularly  valuable  in  giving  a  sane  and  interesting 
point  of  view  for  approaching  the  study  of  a  drama.  On  page  nine 
of  the  catalogue  there  is  a  description  of  a  model  of  the  Fortune 
Theater.  As  this  theater  was  a  reproduction  of  the  Globe  Theater 
for  which  Shakespeare  wrote  his  plays  any  person  who  desires  to 
see  the  conditions  which  confronted  Shakespeare  should  visit  the 
museum  and  study  this  model. 

3.  Albright,  Victor  Emanuel.  "The  Shaksperian  Stage.'* 
Columbia  University  Press,  1909. 

Though  too  technical  for  school  readers,  this  treatise,  especially 
chapter  IH,  "A  Typical  Shaksperian  Stage,"  will  be  of  value  to 
teachers.     Here  is  an  example  of  the  sort  of  thing  to  be  found : 

"  In  certain  scenes,  a  hanging  was  drawn  across  some  part  of  the 
inner  stage  for  the  purpose  of  concealing  some  person  or  small  object 
from  the  characters  already  using  most  of  the  inner  stage  and  the 
outer."  The  application  of  this  to  Act  II,  Scene  7  of  The  Merchant 
is  easily  made. 

4.  Winter,  William.  "Shakespeare  on  the  Stage."  Moffat, 
Yard  &  Co.,  1911. 

5.  Archer,  William.     "About  the  Theatre." 
Pages  239-258  treat  of  Shakespeare  and  the  Public. 

6.  Archer,  William.     "The  Theatrical  World  of  1897." 

A  good  example  of  modem  dramatic  criticism  is  to  be  seen  in  Mr. 
Archer's  comments  in  the  "World"  on  Mr.  Ben  Greet's  presenta- 
tion of  The  Merchant  of  Venice  at  the  Olympic  Theater  in  May  and 
Ju^e,  1897. 


REFERENCE   BOOKS  xxv 

7.  Jenks,  Tudor.  "In  the  Days  of  Shakespeare.'*  The  A.  S. 
Barnes  Company,  1905. 

8.  Winter,  William.     "Shakespeare's  England.'* 

9.  Stephenson,  H.  T.     "Shakspere's  London." 

10.  Fleming,  William  Hansell.  "Shakespeare's  Plots:  a 
Study  in  Dramatic  Construction."     G.  P.  Putnam's  Sons,  1902. 

The  study  of  The  Merchant  of  Venice  occupies  pages  137-231. 
The  author  holds  that  the  Main  Action  of  this  drama  is  the  wooing 
of  Portia  by  Bassanio,  and  all  the  consequences  thereof. 

11.  MouLTON,  Richard  Green.  "Shakespeare  as  a  Dramatic 
Artist  "  and  "  Shakespeare  as  a  Dramatic  Thinker." 

12.  Lee,  Sidney.  "A  Life  of  William  Shakespeare."  London, 
1898. 

Possibly  the  best  biography  of  Shakespeare. 

13.  Mabie,  H.  W.  "William  Shakespeare:  Poet,  Dramatist 
and  Man."     The  Macmillan  Co.,  1900. 

This  edition,  containing  one  hundred  illustrations,  is  an  excellent 
means  for  making  facts  about  Shakespeare  vivid  to  the  pupil's 
mind.  The  frontispiece  is  the  Chandos  portrait  from  the  National 
Portrait  Gallery  (London),  the  most  human  picture  of  Shakespeare. 

14.  Brandes,  Georg.  "William  Shakespeare:  A  Critical 
Study."  English  translation  by  William  Archer.  Two  volumes, 
London,  1898. 

Pages  134-140  of  Vol.  I  give  significant  facts  which  in  the  opinion 
of  the  biographer  show  that  Shakespeare  visited  Italy;  for  instance, 
"Of  Venice,  which  Shakespeare  has  so  livingly  depicted,  no  descrip- 
tion was  published  in  England  until  after  he  had  written  his  Mer- 
chant of  Venice.'*  Pages  178-202  give  one  of  the  best  discussions  of 
The  Merchant  of  Venice,  particularly  with  regard  to  the  sources  of 
the  play,  the  contemporary  attitude  toward  Jews,  Shakespeare's 
knowledge  of  business,  etc. 

15.  Harris,  Frank.  "The  Man  Shakespeare  and  His  Tragic 
Life-Story."  New  York,  1909. 

16.  Raleigh,  Walter  Alexander.  "Shakespeare."  English 
Men  of  Letters  Series.     New  York,  1907. 

17.  RoLFE,  W.  J.  "A  Life  of  William  Shakespeare."  Boston, 
1904. 

The  third  chapter  contains  a  discussion  of  the  free  dramatic 
performances  provided  by  the  Stratford  town  council  for  the  citizens 
of  Stratford  at  the  time  when  Shakespeare  was  a  boy.  The  ninth 
chapter  is  a  full  treatment  of  Shakespeare's  poems,  mention  of  which 
has  been  omitted  in  the  short  sketch  in  this  edition  of  The  Merchant. 


xxvi  REFERENCE   BOOKS 

In  the  thirteenth  chapter  there  is  a  good  account  of  the  opposition 
of  the  Puritans  in  London  to  the  theaters  established  there. 

18.  Alexander,  Louis  Charles.  "The  Autobiography  of 
Shakespeare.*'     Baker  &  Taylor  Co.,  1911. 

A  curious  attempt  to  put  into  the  first  person  facts  about  Shake- 
speare compiled  by  Mr.  Alexander  during  years  of  study  of  the 
dramatist's  life. 

I  19.  Gray,  Joseph  William.  "Shakespeare's  Marriage,  His 
Departure  from  Stratford,  and  Other  Incidents  in  His  Life."  Lon- 
don, 1905. 

The  ninth  chapter  is  a  concise  summary  of  facts  about  Shake- 
speare's life,  as  shown  by  contemporary  written  documents:   e.g., 

1599.  The  Globe  Theatre  was  built,  and  Shakespeare  became 
the  owner  of  a  share  in  the  profits.     Public  Record  Office. 

1601.  Thomas  Whittington  bequeathed  to  the  poor  of  Stratford 
forty  shillings  "that  is  in  the  hand  of  Anne  Shaxspere  wyfe  unto  Mr. 
Wyllyam  Shaxspere."  The  will  was  proved  at  Worcester,  April 
29th,  1601. 

20.  Ha lltwell-Phillips,  J.  O.  "The  Visits  of  Shakespeare's 
Company  of  Actors  to  the  Provincial  Cities  and  Towns  of  England," 
illustrated  by  extracts  gathered  from  corporate  records.  Brighton, 
1887. 

This  book  is  an  example  of  the  sort  of  indefatigable  search  that 
scholars  have  made  in  the  last  half  century  to  find  any  possible  scrap 
of  information  about  Shakespeare.  The  author,  Halliwell-Phillips, 
has  been  one  of  the  most  painstaking  of  investigators.  In  the 
forty-eight  pages  of  this  book  he  mentions  all  the  visits  of  the  Lord 
Chamberlain's  company  of  actors  that  are  referred  to  in  the  records 
of  the  corporate  towns  within  a  circuit  of  about  forty  miles  of  Strat- 
ford-on-Avon.  As  Shakespeare  was  the  leading  member  of  the 
company  as  early  as  1594,.  it  is  probable  that  he  accompanied  his 
colleagues  on  their  excursions  to  the  country  towns. 

21.  Smith,  Gold  win.  "Shakespeare  the  Man:  An  Attempt  to 
find  Traces  of  the  Dramatist's  Character  in  His  Dramas."  New 
York,  1900. 

A  booklet  of  sixty  pages  in  the  author's  customarily  pimgent  style: 
e.g.,  "Fine  music  seems  to  have  been  Shakespeare's  acme  of  enjoy- 
ment," and  "Portia's  success  as  an  advocate  cannot  be  pleaded  as 
encouraging  to  ladies  to  enter  the  legal  profession.  It  will  be 
observed  that  she  gets  not  only  her  garments  but  her  notes  from 
her  cousin  Doctor  Bellario  at  Padua." 

22.  "Tolstoy  on  Shakespeare,"  translated  by  V.  Tchertkoff  and 
I.  F.  M.    New  York  and  London,  1906. 


THE   MERCHANT   OF   VENICE 


DRAMATIS  PERSONS 

f  suitors  to  Portia. 


The  Duke  of  Venice 

The  Prince  of  Morocco  i 

The  Prince  of  Arragon 

Antonio,  a  merchant  of  Venice. 

Bassanio,  friend  to  Antonio,  suitor  likewise  to  Portia. 

Salanio      J 

Salarino    [  friends  to  Antonio  and  Bassanio. 

Gratiano  ) 

Lorenzo,  in  love  with  Jessica. 

Shylock,  a  rich  Jew. 

Tubal,  a  Jew,  friend  to  Shylock. 

Salerio,  a  messenger. 

Launcelot  Gobbo,  a  Clown,  servant  to  Shylock. 

Old  Gobbo,  father  to  Launcelot. 

Leonardo,  servant  to  Bassanio. 

Balthazar  )  ^   ^   t»    4^- 

c,  (  servants  to  rortia. 

Stephano    ) 

Portia,  a  rich  Italian  lady. 
Nerissa,  her  waiting-gentlewoman. 
Jessica,  daughter  to  Shylock. 

Magnificoes  of  Venice,  Officers  of  the  Court  of  Justice,  Gaoler, 
Servants,  and  other  Attendants. 

SCENE  —  Partly  at  Venice;    and  partly  at  Belmont,  the  seat  of 
Portia,  on  the  Continent, 


THE   MERCHANT   OF  VENICE 


ACT  I 

Scene  I 

Venice,    A  street. 

Enter  Antonio,  Salarino,  and  Salanio. 

Antonio.     In  sooth,  I  know  not  why  I  am  so  sad: 
It  wearies  me;  you  say  it  wearies  you; 
But  how  I  caught  it,  found  it,  or  came  by  it, 
What  stuff  'tis  made  of,  whereof  it  is  born, 
I  am  to  learn; 

And  such  a  want- wit  sadness  makes  of  me. 
That  I  have  much  ado  to  know  myself. 

Salarino.     Your  mind  is  tossing  on  the  ocean; 
There,  where  your  argosies  with  portly  sail,  — 
Like  signiors  and  rich  burghers  on  the  flood,  10 

Or,  as  it  were,  the  pageants  of  the  sea,  — 
Do  overpeer  the  petty  traffickers. 
That  curtsy  to  them,  do  them  reverence, 
As  they  fly  by  them  with  their  woven  wings. 

Salanio.   Believe  me,  sir,  had  I  such  venture  forth. 
The  better  part  of  my  affections  would 
Be  with  my  hopes  abroad.     I  should  be  still 
Plucking  the  grass,  to  know  where  sits  the  wind; 
Peering  in  maps  for  ports  and  piers  and  roads; 
And  every  object  that  might  make  me  fear  20 

Misfortune  to  my  ventures,  out  of  doubt 
Would  make  me  sad. 


4  MERCHANT  OP  VENICE  [Act  I 

Salarino.  My  wind,  cooling  my  broth, 

Would  blow  me  to  an  ague,  when  I  thought 
What  harm  a  wind  too  great  might  do  at  sea. 
I  should  not  see  the  sandy  hour-glass  run 
But  I  should  think  of  shallows  and  of  flats, 
And  see  my  wealthy  Andrew  dock'd  in  sand, 
Vailing  her  high-top  lower  than  her  ribs 
To  kiss  her  burial.     Should  I  go  to  church 
And  see  the  holy  edifice  of  stone,  30 

And  not  bethink  me  straight  of  dangerous  rocks, 
Which,  touching  but  my  gentle  vessel's  side. 
Would  scatter  all  her  spices  on  the  stream. 
Enrobe  the  roaring  waters  with  my  silks. 
And,  in  a  word,  but  even  now  worth  this, 
And  now  worth  nothing  ?     Shall  I  have  the  thought 
To  think  on  this;    and  shall  I  lack  the  thought 
That  such  a  thing,  bechanced,  would  make  me  sad  ? 
But  tell  not  me;  I  know  Antonio 
Is  sad  to  think  upon  his  merchandise.  40 

Antonio.   Believe  me,  no ;  I  thank  my  fortune  for  it. 
My  ventures  are  not  in  one  bottom  trusted, 
Nor  to  one  place;   nor  is  my  whole  estate 
Upon  the  fortune  of  this  present  year: 
Therefore  my  merchandise  makes  me  not  sad. 

Salarino,     Why,  then  you  are  in  love. 

Antonio.  Fie,  fie! 

Salarino .     Not  in  love  neither  ?    Then  let  us  say 
you  are  sad. 
Because  you  are  not  merry :  and  'twere  as  easy 
For  you  to  laugh  and  leap  and  say  you  are  merry. 
Because  you  are  not  sad.     Now,  by  two-headed 

Janus,  50 


Scene  I]  MERCHANT  OF  VENICE  5 

Nature  hath  framed  strange  fellows  in  her  time: 

Some  that  will  evermore  peep  through  their  eyes. 

And  laugh  like  parrots  at  a  bag-piper; 

And  other  of  such  vinegar  aspect 

That  they'll  not  show  their  teeth  in  way  of  smile, 

Though  Nestor  swear  the  jest  be  laughable. 

Enter  Bassanio,  Lorenzo,  and  Gratiano. 
Scdanio,    Here  comes  Bassanio,  your  most  noble 
kinsman, 
Gratiano,  and  Lorenzo.     Fare  ye  well: 
We  leave  you  now  with  better  company. 

Scdarino.     I  would  have  stay'd  till  I  had  made 
you  merry,  60 

If  worthier  friends  had  not  prevented  me. 

Antonio.     Your  worth  is  very  dear  in  my  regard. 
I  take  it,  your  own  business  calls  on  you. 
And  you  embrace  th'  occasion  to  depart. 
Scdarino.     Good  morrow,  my  good  lords. 
Bassanio,     Good   signiors  both,  when  shall  we 
laugh .f^     Say,  when? 
You  grow  exceeding  strange :  must  it  be  so  ? 

Salarino.     We'll  make  our  leisures  to  attend  on 
yours. 

[Exeunt  Salarino  and  Salanio. 
Lorenzo.     My  lord  Bassanio,  since  you  have  found 
Antonio, 
We  two  will  leave  you;   but  at  dinner-time,  70 

I  pray  you,  have  in  mind  where  we  must  meet. 
Bassanio.     I  will  not  fail  you. 
Gratiano.     You  look  not  well,  Signior  Antonio; 
You  have  too  much  respect  upon  the  world: 
They  lose  it  that  do  buy  it  with  much  care. 


6  MERCHANT  OF  VENICE  [Act  I 

Believe  me,  you  are  marvelously  changed. 

Antonio,     I  hold  the  world  but  as  the  world, 
Gratiano; 
A  stage  where  every  man  must  play  a  part. 
And  mine  a  sad  one. 

Gratiano.  Let  me  play  the  Fool: 

With  mirth  and  laughter  let  old  wrinkles  come,  80 

And  let  my  liver  rather  heat  with  wine 
Than  my  heart  cool  with  mortifying  groans. 
Why  should  a  man  whose  blood  is  warm  within 
Sit  like  his  grandsire  cut  in  alabaster  ? 
Sleep  when  he  wakes,  and  creep  into  the  jaundice 
By  being  peevish  ?     I  tell  thee  what,  Antonio,  — 
I  love  thee,  and  it  is  my  love  that  speaks,  — 
There  are  a  sort  of  men  whose  visages 
Do  cream  and  mantle  like  a  standing  pond; 
And  do  a  wilful  stillness  entertain,  90 

With  purpose  to  be  dress 'd  in  an  opinion 
Of  wisdom,  gravity,  profound  conceit; 
As  who  should  say,  '  I  am  Sir  Oracle, 
And  when  I  ope  my  lips,  let  no  dog  bark!' 
O  my  Antonio,  I  do  know  of  these 
That  therefore  only  are  reputed  wise 
For  saying  nothing;  who  I  am  very  sure. 
If  they  should  speak,  would  almost  damn  those 

ears 
Which,  hearing  them,  would  call  their  brothers  fools. 
I'll  tell  thee  more  of  this  another  time:  100 

But  fish  not,  with  this  melancholy  bait, 
For  this  fool-gudgeon,  this  opinion. 
Come,  good  Lorenzo.     Fare  ye  well  a  while: 
I'll  end  my  exhortation  after  dinner. 


Scene  I]  MERCHANT  OF  VENICE  7 

Lorenzo.     Well,  we  will  leave  you,  then,  till  dinner- 
time: 
I  must  be  one  of  these  same  dumb  wise  men. 
For  Gratiano  never  lets  me  speak. 

Gratiano.     Well,  keep  me  company  but  two  years 
moe, 
Thou  shalt  not  know  the  sound  of  thine  own  tongue. 

Antonio.     Farewell :  I'll  grow  a  talker  for  this  gear.  110 

Gratiano.     Thanks,  i'  faith;   for  silence  is  only 
commendable 
In  a  neat's  tongue  dried,  and  a  maid  not  vendible. 

[Exeunt  Gratiano  and  Lorenzo. 

Antonio.     Is  that  any  thing  now? 

Bassanio.  Gratiano  speaks  an  infinite  deal  of 
nothing,  more  than  any  man  in  all  Venice.  His  rea- 
sons are  as  two  grains  of  wheat  hid  in  two  bushels  of 
chaff:  you  shall  seek  all  day  ere  you  find  them;  and 
when  you  have  them,  they  are  not  worth  the  search. 

Antonio.  Well,  tell  me  now,  what  lady  is  the  same 
To  whom  you  swore  a  secret  pilgrimage,  120 

That  you  to-day  promised  to  tell  me  of? 

Bassanio.     'Tis  not  unknown  to  you,  Antonio, 
How  much  I  have  disabled  mine  estate. 
By  something  showing  a  more  swelling  port 
Than  my  faint  means  would  grant  continuance: 
Nor  do  I  now  make  moan  to  be  abridged 
From  such  a  noble  rate;   but  my  chief  care 
Is  to  come  fairly  off  from  the  great  debts 
Wherein  my  time,  something  too  prodigal, 
Hath  left  me  gaged.     To  you,  Antonio,  130 

I  owe  the  most,  in  money  and  in  love; 
And  from  your  love  I  have  a  warranty 


8  MERCHANT  OF  VENICE  [Act  I 

To  unburthen  all  my  plots  and  purposes, 
How  to  get  clear  of  all  the  debts  I  owe. 

Antonio,     I  pray  you,  good  Bassanio,  let    me 
know  it; 
And  if  it  stand,  as  you  yourself  still  do. 
Within  the  eye  of  honor,  be  assured 
My  purse,  my  person,  my  extremest  means 
Lie  all  unlock'd  to  your  occasions. 

Bassanio.     In  my  school-days,  when  I  had  lost 
one  shaft,,  140 

I  shot  his  fellow  of  the  selfsame  flight 
The  selfsame  way,  with  more  advised  watch. 
To  find  the  other  forth;   and  by  adventuring  both 
I  oft  found  both:  I  urge  this  childhoctl  proof, 
Because  what  follows  is  pure  innocence. 
I  owe  you  much;  and,  like  a  wilful  youth. 
That  which  I  owe  is  lost :  but  if  you  please 
To  shoot  another  arrow  that  seK  way 
Which  you  did  shoot  the  first,  I  do  not  doubt. 
As  I  will  watch  the  aim,  or  to  find  both  150 

Or  bring  your  latter  hazard  back  again. 
And  thankfully  rest  debtor  for  the  first. 

Antonio.     You  know  me  well,  and  herein  spend 
but  time 
To  wind  about  my  love  with  circumstance; 
And,  out  of  doubt,  you  do  me  now  more  wrong 
In  making  question  of  my  uttermost 
Than  if  you  had  made  waste  of  all  I  have. 
Then  do  but  say  to  me  what  I  should  do. 
That  in  your  knowledge  may  by  me  be  done. 
And  I  am  prest  unto  it:  therefore  speak.  160 

Bassanio.     In  Belmont  is  a  lady  richly  left; 


Scene  II]  MERCHANT  OF  VENICE  9 

And  she  is  fair,  and,  fairer  than  that  word. 

Of  wondrous  virtues :  sometimes  from  her  eyes 

I  did  receive  fair  speechless  messages. 

Her  name  is  Portia,  nothing  undervalued 

To  Cato's  daughter,  Brutus'  Portia. 

Nor  is  the  wide  world  ignorant  of  herO^orth; 

For  the  four  winds  blow  in  from  every  coast 

Renowned  suitors;  and  her  sunny  locks 

Hang  on  her  temples  like  a  golden  fleece;  170 

Which  makes  her  seat  of  Belmont  Colchos'  strand. 

And  many  Jasons  come  in  quest  of  her. 

0  my  Antonio!  had  I  but  the  means 
To  hold  a  rival  place  with  one  of  them, 

1  have  a  mind  presages  me  such  thrift. 
That  I  should  questionless  be  fortunate. 

Antonio,    Thou   know'st  that  all   my   fortunes 
are  at  sea; 
Neither  have  I  money  nor  commodity 
To  raise  a  present  sum:  therefore  go  forth; 
Try  what  my  credit  can  in  Venice  do:  180 

That  shall  be  rack'd,  even  to  the  uttermost, 
To  furnish  thee  to  Belmont,  to  fair  Portia. 
Go,  presently  inquire,  and  so  will  I,  ^ 

Where  money  is;  and  I  no  question  make 
To  have  it  of  my  trust  or  for  my  sake.        [Exeunt. 

Scene  II 
Belmont,     A  room  in  Portia's  house. 
Ent^r  Portia  and  Nerissa. 
Portia.     By  my  troth,  Nerissa,  my  little  body  is 
aweary  of  this  great  world. 


10  MERCHANT  OF  VENICE  [Act  I 

Nerissa.  You  would  be,  sweet  madam,  if  your 
miseries  were  in  the  same  abundance  as  your  good 
fortunes  are:  and  yet,  for  aught  I  see,  they  are  as 
sick  that  surfeit  with  too  much,  as  they  that  starve 
with  nothing.  It  is  no  small  happiness,  therefore,  to 
be  seated  in  thef^ean;  superfluity  comes  sooner  by 
white  hairs,  but  competency  lives  longer. 

Portia,     Good  sentences,  and  well  pronounced.  10 

Nerissa,     They  would  be  better,  if  well  followed. 

Portia.  If  to  do  were  as  easy  as  to  know  what 
were  good  to  do,  chapels  had  been  churches,  and 
poor  men's  cottages  princes'  palaces.  It  is  a  good 
divine  that  follows  his  own  instructions :  I  can  easier 
teach  twenty  what  were  good  to  be  done  than  be  one 
of  the  twenty  to  follow  mine  own  teaching.  The 
brain  may  devise  laws  for  the  blood;  but  a  hot  tem- 
per leaps  o'er  a  cold  decree :  such  a  hare  is  madness 
the  youth,  to  skip  o'er  the  meshes  of  good  counsel  20 
the  cripple.  But  this  reasoning  is  not  in  the  fashion 
to  choose  me  a  husband.  O  me,  the  word  *choose' ! 
I  may  neither  choose  whom  I  would,  nor  refuse 
whom  I  dislike;  so  is  the  will  of  a  living  daughter 
curbed  by  the  will  of  a  dead  father.  Is  it  not  hard, 
Nerissa,  that  I  cannot  choose  one  nor  refuse  none  ? 

Nerissa,  Your  father  was  ever  virtuous;  and  holy 
men  at  their  death  have  good  inspirations;  therefore 
the  lottery  that  he  hath  devised  in  these  three  chests 
of  gold,  silver,  and  lead  (whereof  who  chooses  his  30 
meaning  chooses  you)  will,  no  doubt,  never  be  chosen 
by  any  rightly,  but  one  who  shall  rightly  love.  But 
what  warmth  is  there  in  your  affection  towards  any 
of  these  princely  suitors  that  are  already  come  ? 


Scene  II]  MERCHANT  OF  VENICE  11 

Portia,  I  pray  thee,  over-name  them;  and  as 
thou  namest  them,  I  will  describe  them;  and,  ac- 
cording to  my  description,  level  at  my  affection. 

Nerissa.     First,  there  is  the  Neapolitan  prince. 

Portia,     Ay,  that's  a  colt,  indeed,  for  he  doth 
nothing  but  talk  of  his  horse;  and  he  makes  it  a   40 
great  appropriation  to  his  own  good  parts,  that  he 
can  shoe  him  himself. 

Nerissa.     Then  is  there  the  County  Palatine. 

Portia,  He  doth  nothing  but  frown;  as  who 
should  say,  'An  you  will  not  have  me,  choose';  he 
hears  merry  tales,  and  smiles  not:  I  fear  he  will 
prove  the  weeping  philosopher  when  he  grows  old, 
being  so  full  of  unmannerly  sadness  in  his  youth.  I 
had  rather  be  married  to  a  death's-head  with  a  bone 
in  his  mouth  than  to  either  of  these.  God  defend  50 
me  from  these  two! 

Nerissa.  How  say  you  by  the  French  lord.  Mon- 
sieur Le  Bon? 

Portia,  God  made  him,  and  therefore  let  him 
pass  for  a  man.  In  truth,  I  know  it  is  a  sin  to  be  a 
mocker.  But  he!  why,  he  hath  a  horse  better  than 
the  Neapolitan's;  a  better  bad  habit  of  frowning 
than  the  Count  Palatine:  he  is  every  man  in  no 
man:  if  a  throstle  sing,  he  falls  straight  a-capering; 
he  will  fence  with  his  own  shadow :  if  I  should  marry  60 
him,  I  should  marry  twenty  husbands.  If  he  would 
despise  me,  I  would  forgive  him;  for,  if  he  love 
me  to  madness,  I  shall  never  requite  him. 

Nerissa,  What  say  you,  then,  to  Falconbridge, 
the  young  baron  of  England  ? 

Portia,     You  know  I  say  nothing  to  him;  for  he 


12  MERCHANT  OF  VENICE  [Act  I 

understands  not  me,  nor  I  him:  he  hath  neither 
Latin,  French,  nor  ItaUan;  and  you  will  come  into 
the  court  and  swear  that  I  have  a  poor  pennyworth 
in  the  English.  He  is  a  proper  man's  picture;  but  70 
alas,  who  can  converse  with  a  dumb-show?  How 
oddly  he  is  suited!  I  think  he  bought  his  doublet 
in  Italy,  his  round  hose  in  France,  his  bonnet  in 
Germany,  and  his  behavior  everywhere. 

Nerissa.  What  think  you  of  the  Scottish  lord, 
his  neighbor? 

Portia.     That  he  hath  a  neighborly  charity  in 
him;  for  he  borrowed  a  box  of  the  ear  of  the  English- 
man, and  swore  he  would  pay  him  again  when  he 
.  was  able :  I  think  the  Frenchman  became  his  surety,    80 
and  sealed  under  for  another. 

Nerissa.  How  like  you  the  young  German,  the 
Duke  of  Saxony's  nephew? 

Portia.  Very  vilely  in  the  morning,  when  he  is 
sober;  and  most  vilely  in  the  afternoon,  when  he 
is  drunk:  when  he  is  best,  he  is  a  little  worse  than 
a  man;  and  when  he  is  worst,  he  is  little  better  than 
a  beast :  an  the  worst  fall  that  ever  fell,  I  hope  I  shall 
make  shift  to  go  without  him. 

Nerissa.     If  he  should  offer  to  choose,  and  choose   90 
the  right  casket,  you  should  refuse  to  perform  your 
father's  will,  if  you  should  refuse  to  accept  him. 

Portia.  Therefore,  for  fear  of  the  worst,  I  pray 
thee  set  a  deep  glass  of  Rhenish  wine  on  the  con- 
trary casket:  for,  if  the  devil  be  within  and  that 
temptation  without,  I  know  he  will  choose  it.  I 
will  do  anything,  Nerissa,  ere  I  will  be  married  to 
a  sponge. 


Scene  II]  MERCHANT  OF  VENICE  13 

Nerissa,  You  need  not  fear,  lady,  the  having  any 
of  these  lords:  they  have  acquainted  me  with  their  loo 
determinations;  which  is,  indeed,  to  return  to 
their  home  and  to  trouble  you  with  no  more  suit, 
unless  you  may  be  won  by  some  other  sort  than  your 
father's  imposition,  depending  on  the  caskets. 

Portia.  If  I  live  to  be  as  old  as  Sibylla,  I  will  die 
as  chaste  as  Diana,  unless  I  be  obtained  by  the 
manner  of  my  father's  will.  I  am  glad  this  parcel  of 
wooers  are  so  reasonable;  for  there  is  not  one  among 
them  but  I  dote  on  his  very  absence;  and  I  wish 
them  a  fair  departure.  110 

Nerissa.  Do  you  not  remember,  lady,  in  your 
father's  time,  a  Venetian,  a  scholar,  and  a  soldier, 
that  came  hither  in  company  of  the  Marquis  of 
Montf  errat  ? 

Portia.  Yes,  yes,  it  was  Bassanio;  as  I  think,  so 
was  he  called. 

Nerissa.  True,  madam:  he,  of  all  the  men  that 
ever  my  foolish  eyes  looked  upon,  was  the  best 
deserving  a  fair  lady. 

Portia.     I  remember  him  well;    and  I  remember  120 
him  worthy  of  thy  praise.     How  now!  what  news? 

Enter  a  Serving-man. 

Servant.  ^  The  four  strangers  seek  you,  madam,  to 
take  their  leave:  and  there  is  a  forerunner  come 
from  a  fifth,  the  Prince  of  Morocco;  who  brings 
word  the  prince  his  master  will  be  here  to-night. 

Portia.  If  I  could  bid  the  fifth  welcome  with  so 
good  heart  as  I  can  bid  the  other  four  farewell,  I 
should  be  glad  of  his  approach:  if  he  have  the  con- 


14  MERCHANT  OF  VENICE  [Act  I 

dition  of  a  saint  and  the  complexion  of  a  devil,  I  had 
rather  he  should  shrive  me  than  wive  me.  130 

Come,  Nerissa.     Sirrah,  go  before. 
Whiles  we  shut  the  gate  upon  one  wooer,  another 
knocks  at  the  door.  [Exeunt, 

Scene    III 

Venice,     A  public  place. 

Enter  Bassanio  and  Shylock. 

Shylocic     Three    thousand    ducats,  —  well. 

Bassanio.     Ay,    sir,    for   three   months. 

Shylock,     For   three   months,  —  well. 

Bassanio,     For  the  which,  as  I  told  you,  Antonio 
shall  be  bound. 

Shylock,     Antonio  shall  become  bound,  —  well. 

Bassanio.     May  you  stead  me  ?     Will  you  pleas- 
ure me.^     Shall  I  know  your  answer.^ 

Shylock.     Three    thousand    ducats,     for    three 
months,  and  Antonio  bound.  10 

Bassanio,     Your  answer  to  that. 

Shylock,     Antonio  is  a  good  man. 

Bassanio,     Have  you  heard  any  imputation  to  the 
contrary  ? 

Shylock,  Ho !  no,  no,  no,  no :  my  meaning,  in  say- 
ing he  is  a  good  man,  is  to  have  you  ujiderstand  me 
that  he  is  sufficient.  Yet  his  means  are  in  supposi- 
tion: he  hath  an  argosy  bound  to  Tripolis,  another 
to  the  Indies;  I  understand,  moreover,  upon  the 
Rial  to,  he  hath  a  third  at  Mexico,  a  fourth  for  20 
England;  and  other  ventures  he  hath,  squandered 
abroad.     But  ships  are  but  boards,  sailors  but  men; 


Scene  HI]  MERCHANT  OF  VENICE  15 

there,  be  land-rats  and  water-rats,  water- thieves 
and  land-thieves;  —  I  mean,  pirates;  and  then  there 
is  the  peril  of  waters,  winds,  and  rocks.  The  man  is, 
notwithstanding,  sufficient.  Three  thousand  duc- 
ats; —  I  think  I  may  take  his  bond. 

Bassanio,     Be  assured  you  may. 

Shylock.     I  will  be  assured  I  may;    and,  that  I 
may  be  assured,  I  will  bethink  me.     May  I  speak   30 
with  Antonio  ? 

Bassanio,     If  it  please  you  to  dine  with  us. 

Shylock,  Yes,  to  smell  pork;  to  eat  of  the  habi- 
tation which  your  prophet,  the  Nazarite,  conjured  the 
devil  into!  I  will  buy  with  you,  sell  with  you,  talk 
with  you,  walk  with  you,  and  so  following;  but  I  will 
not  eat  with  you,  drink  with  you,  nor  pray  with  you. 
—  What  news  on  the  Rialto  ?  —  Who  is  he  comes 
here? 

Enter  Antonio. 

Bassanio.     This    is    signior    Antonio. 

Shylock,     [Aside]     How  Uke  a  fawning  publican 
he    looks!  ,  40 

I  hate  him  for  he  is  a  Christian; 
But  more  for  that,  in  low  simplicity 
He  lends  out  money  gratis,  and  brings  down 
The  rate  of  usance  here  with  us  in  Venice. 
If  I  can  catch  him  once  upon  the  hip, 
I  will  feed  fat  the  ancient  grudge  I  bear  him. 
He  hates  our  sacred  nation;   and  he  rails. 
Even  there  where  merchants  most  do  congregate. 
On  me,  my  bargains,  and  my  well- won  thrift. 
Which  he  calls  interest.     Cursed  be  my  tribe  50 

If  I  forgive  hina ! 


16  MERCHANT  OF  VENICE  [Act  I 

Bassanio.  Shy  lock,  do  you  hear  ? 

Shylock,     I  am  debating  of  my  present  store; 
And,  by  the  near  guess  of  my  memory, 
I  cannot  instantly  raise  up  the  gross 
Of  full  three  thousand  ducats.     What  of  that  ? 
Tubal,  a  wealthy  Hebrew  of  my  tribe. 
Will  furnish  me.     But  soft!  how  many  months 
Do  you  desire.'^ —  [To  Antonio]     Rest  you  fair, 

good  signior: 
Your  worship  was  the  last  man  in  our  mouths. 

Antonio,      Shylock,    albeit   I    neither   lend   nor 
borrow  60 

By  taking  nor  by  giving  of  excess. 
Yet,  to  supply  the  ripe  wants  of  my  friend, 
I'll  break  a  custom.  —  [To  Bassanio]     Is  he  yet 

possess'd 
How  much  you  would  ? 

Shylock.  Ay,  ay,  three  thousand  ducats. 

Antonio.     And  for  three  months. 

Shylock.     I   had   forgot,  —  three    months;    you 
told  me  so. 
Well  then,  your  bond;   and,  let  me  see;  but  hear 

you: 
Methought  you  said  you  neither  lend  nor  borrow 
Upon  advantage. 

Antonio.  I  do  never  use  it. 

Shylock.     When  Jacob  grazed  his  uncle  Laban's 
sheep,  —  70 

This  Jacob  from  our  holy  Abram  was 
(As  his  wise  mother  wrought  in  his  behalf) 
The  third  possessor;   ay,  he  was  the  third  — 

Antonio.    And  wh^t  of  him  ?  did  he  take  interest  ? 


Scene  III]  MERCHANT  OF  VENICE  17 

Shylock      No,  not  take  interest;  not,  as  you  would 
say. 
Directly  interest:  mark  what  Jacob  did. 
When  Laban  and  himself  were  compromised, 
That  all  the  eanlings  which  were  streaked  and  pied 
Should  fall  as  Jacob's  hire. 

The  skilful  shepherd  peeled  me  certain  wands,  80 

And  stuck  them  up  before  the  fulsome  ewes. 
Who,  then  conceiving,  did  in  eaning  time 
Fall  parti-colored  lambs,  and  those  were  Jacob's. 
This  was  a  way  to  thrive,  and  he  was  blest; 
And  thrift  is  blessing,  if  men  steal  it  not. 

Antonio.     This  was  a  venture,  sir,  that  Jacob 
served  for; 
A  thing  not  in  his  power  to  bring  to  pass. 
But  sway'd  and  fashion'd  by  the  hand  of  heaven. 
Was  this  inserted  to  make  interest  good  ? 
Or  is  your  gold  and  silver  ewes  and  rams  ?  90 

Shylock,     I  cannot  tell;  I  make  it  breed  as  fast. 
But  note  me,  signior. 

Antonio,  Mark  you  this  3assanio, 

The  devil  can  cite  Scripture  for  his  purpose. 
An  evil  soul,  producing  holy  witness, 
Is  like  a  villain  with  a  smiling  cheek; 
A  goodly  apple  rotten  at  the  heart  : 
O,  what  a  goodly  outside  falsehood  hath ! 

Shylock,     Three  thousand  ducats,  — 'tis  a  good 
round  sum. 
Three    months  from   twelve,  —  then,  let  me  see; 
the  rate  — 

Antonio,     Well,  Shylock,  shall  we  be  beholding  to 

you  ?  100 


18  MERCHANT  OF  VENICE  [Act  I 

Shylock.     Signior  Antonio,  many  a  time  and  oft 
In  the  Rialto  you  have  rated  me 
About  my  moneys  and  my  usances: 
Still  have  I  borne  it  with  a  patient  shrug; 
For  suflFerance  is  the  badge  of  all  our  tribe. 
You  call  me  misbeliever,  cut-throat-dog, 
And  spit  upon  my  Jewish  gaberdine. 
And  all  for  use  of  that  which  is  mine  own. 
Well  then,  it  now  appears  you  need  my  help  : 
Go  to,  then;  you  come  to  me,  and  you  say,  110 

'Shylock,  we  would  have  money':  you  say  so; 
You,  that  did  void  your  rheum  upon  my  beard. 
And  foot  me  as  you  spurn  a  stranger  cur 
Over  your  threshold :  moneys  is  your  suit. 
What  should  I  say  to  you  ?     Should  I  not  say, 
'Hath  a  dog  money  ?     Is  it  possible 
A  cur  can  lend  three  thousand  ducats  ? '     Or 
Shall  I  bend  low,  and  in  a  bondman's  key. 
With  bated  breath  and  whispering  humbleness. 
Say  this,  —  120 

Tair  sir,  you  spit  on  me  on  Wednesday  last; 
You  spurn'd  me  such  a  day;  another  time 
You  call'd  me  dog;   and  for  these  courtesies 
I'll  lend  you  thus  much  moneys  ?' 

Antonio.     I  am  as  like  to  call  thee  so  again, 
To  spit  on  thee  again,  to  spurn  thee  too. 
If  thou  wilt  lend  this  money,  lend  it  not 
As  to  thy  friends;  for  when  did  friendship  take 
A  breed  of  barren  metal  of  his  friend  ? 
But  lend  it  rather  to  thine  enemy;  130 

Who,  if  he  break,  thou  mayst  with  better  face 
Exact  the  penalty. 


Scene  III]  MERCHANT  OF  VENICE  19 

Shylock,  ^Why,  look  you,  how  you  storm! 

I  would  be  friends  with  you,  and  have  your  love; 
Forget  the  shames  that  you  have  stain'd  me  with; 
Supply  your  present  wants,  and  take  no  doit 
Of  usance  for  my  moneys,  and  you'll  not  hear  me: 
This  is  kind  I  offer. 

Bassanio,     This  were  kindness. 

Shylock,  This  kindness  will  I  show: 

Go  with  me  to  a  notary;   seal  me  there 
Your  single  bond,  and,  in  a  merry  sport,  140 

If  you  repay  me  not  on  such  a  day, 
In  such  a  place,  such  sum  or  sums  as  are 
Expressed  in  the  condition,  let  the  forfeit 
Be  nominated  for  an  equal  pound 
Of  your  fair  flesh,  to  be  cut  off  and  takefi 
In  what  part  of  your  body  pleaseth  me. 

Antonio,     Content,  in  faith;  I'll  seal  to  such  a 
bond. 
And  say  there  is  much  kindness  in  the  Jew. 

Bassanio,     You  shall  not  seal  to  such  a  bond  for 
me; 
I'll  rather  dwell  in  my  necessity.  150 

Antonio,     Why,  fear  not,  man;  I  will  not  forfeit 
it; 
Within  these  two  months,  that's  a  month  before 
This  bond  expires,  I  do  expect  return 
Of  thrice  three  times  the  value  of  this  bond. 

Shylock.     O  Father  Abram,  what  these  Christians 
are. 
Whose  own  hard  dealings  teaches  them  suspect 
The  thoughts  of  others !  —  Pray  you,  tell  me  this : 
If  he  should  break  his  day,  what  should  I  gain 


20  MERCHANT  OF  VENICE  [Act  I 

By  the  exaction  of  the  forfeiture  ? 

A  pound  of  man's  flesh,  taken  from  a  man,  160 

Is  not  so  estimable,  profitable  neither, 

As  flesh  of  muttons,  beefs,  or  goats.     I  say. 

To  buy  his  favor,  I  extend  this  friendship; 

If  he  will  take  it,  so;  if  not,  adieu; 

And,  for  my  love,*  I  pray  you  wrong  me  not. 

Antonio,     Yes,  Shylock,  I  will  seal  unto  this  bond. 

Shylock.   Then  meet  me  forthwith  at  the  notary's; 
Give  him  direction  for  this  merry  bond. 
And  I  will  go  and  purse  the  ducats  straight; 
See  to  my  house,  left  in  the  fearful  guard  170 

Of  an  unthrifty  knave;  and  presently 
I  will  be  with  you.  [Exit. 

Antonio.  Hie  thee,  gentle  Jew. 

The  Hebrew  will  turn  Christian;    he  grows  kind. 

Bassanio.     I  like  not  fair  terms  and  a  villain's 
mind. 

Antonio.     Come  on;  in  this  there  can  be  no  dis- 
may; 
My  ships  come  home  a  month  before  the  day. 

[Exeunt. 


ACT  II 

Scene  I 
Belmont,    A  room  in  Portia's  house. 

Flourish  of  cornets.   Enter  the  Prince  of  Morocco 
and  his  Train;  Portia,  Nerissa,  and  others  attending, 

Morocco,     Mislike  me  not  for  my  complexion. 
The  shadow'd  livery  of  the  burnish'd  sun. 
To  whom  I  am  a  neighbor  and  near  bred. 
Bring  me  the  fairest  creature  northward  born, 
Where  Phoebus'  fire  scarce  thaws  the  icicles, 
And  let  us  make  incision  for  your  love, 
To  prove  whose  blood  is  reddest,  his  or  mine. 
I  tell  thee,  lady,  this  aspect  of  mine 
Hath  fear'd  the  valiant;  by  my  love,  I  swear 
The  best-regarded  virgins  of  our  cl^me  10 

Have  loved  it  too:  I  would  not  change  this  hue. 
Except  to  steal  your  thoughts,  my  gentle  queen. 

Portia,     In  terms  of  choice  I  am  not  solely  led 
By  nice  direction  of  a  maiden's  eyes; 
Besides,  the  lottery  of  my  destiny 
Bars  me  the  right  of  voluntary  choosing: 
But,  if  my  father  had  not  scanted  me, 
And  hedged  me  by  his  wit  to  yield  myself 
His  wife  who  wins  me  by  that  means  I  told  you. 
Yourself,  renowned  prince,  then  stood  as  fair  20 

As  any  comer  I  have  look'd  on  yet. 
For  my  affection. 

Morocco.  Even  for  that  I  thank  you; 


22  MERCHANT  OF  VENICE  [Act  II 

Therefore,  I  pray  you,  lead  me  to  the  caskets 

To  try  my  fortune.     By  this  scimitar 

That  slew  the  Sophy  and  a  Persian  prince 

That  won  three  fields  of  Sultan  Solyman, 

I  would  outstare  the  sternest  eyes  that  look. 

Outbrave  the  heart  most  daring  on  the  earth. 

Pluck  the  young  sucking  cubs  from  the  she-bear, 

Yea,  mock  the  lion  when  he  roars  for  prey,  30 

To  win  the  lady.     But,  alas  the  while! 

If  Hercules  and  Lichas  play  at  dice 

Which  is  the  better  man,  the  greater  throw 

May  turn  by  fortune  from  the  weaker  hand: 

So  is  Alcides  beaten  by  his  page; 

And  so  may  I,  blind  fortune  leading  me. 

Miss  that  which  one  unworthier  may  attain, 

And  die  with  grieving. 

Portia,  You  must  take  your  chance; 

And  either  not  attempt  to  choose  at  all. 
Or,  swear  before  you  choose,  if  you  choose  wrong    40 
Never  to  speak  to  lady  afterward 
In  way  of  marriage;   therefore  be  advised. 

Morocco.     Nor  will  not;  come,  bring  me  unto  my 
chance. 

Portia,     First,  forward  to  the  temple;  after  dinner 
Your  hazard  shall  be  made. 

Morocco,  Good    fortune    then! 

To  make  me  blest  or  cursed'st  among  men. 

[Cornets.    Exeunt. 


Scene  II]  MERCHANT  OF  VENICE  23 

Scene  II 
Venice.  A  street. 
Enter  Launcelot. 
Launcelot.     Certainly  my  conscience  will  serve  me 
to  run  from  this  Jew  my  master.     The  fiend  is  at 
mine  elbow,  and  tempts  me,  saying  to  me,  '  Gobbo, 
Launcelot  Gobbo, good  Launcelot,'  or  'good  Gobbo,' 
or  *  good  Launcelot  Gobbo,  use  your  legs,  take  the 
start,  run  away.'     My  conscience  says,  'No;   take 
heed,  honest  Launcelot;  take  heed,  honest  Gobbo,' 
or,  as  aforesaid,  'honest  Launcelot  Gobbo;   do  not 
run;  scorn  running  with  thy  heels.'     Well,  the  most 
courageous  fiend  bids  me  pack :  '  Via ! '  says  the  fiend;    10 
*  away ! '  says  the  fiend;  *  for  the  heavens,  rouse  up  a 
brave  mind,'  says  the  fiend,  'and  run.'     Well,  my 
conscience,  hanging  about  the  neck  of  my  heart,  says 
very  wisely  to  me,  *  My  honest  friend  Launcelot,  be- 
ing an  honest  man's  son,'  —  or  rather  an  honest 
woman's  son;  for,  indeed,  my  father  did  something 
smack,  something  grow  to,  he  had  a  kind  of  taste;  — 
well,  my  conscience  says,  'Launcelot,  budge  not.' 
'  Budge,'  says  the  fiend.     '  Budge  not,'  says  my  con- 
science.    'Conscience,'  say  I,  'y^^  counsel  well';   20 
'  fiend,'  say  I,  'you  counsel  well ' :  to  be  ruled  by  my 
conscience  I  should  stay  with  the  Jew  my  master, 
who,  God  bless  the  mark,  is  a  kind  of  devil;  and  to 
run  away  from  the  Jew  I  should  be  ruled  by  the  fiend, 
who,  saving  your  reverence,  is  the  devil  himself. 
Certainly  the  Jew  is  the  very  devil  incarnal;  and,  in 
my  conscience,  my  conscience  is  but  a  kind  of  hard 


24  MERCHANT  OF  VENICE  [Act  II 

conscience,  to  offer  to  counsel  me  to  stay  with  the 
Jew.  The  fiend  gives  the  more  friendly  counsel:  I 
will  run,  fiend,  my  heels  are  at  your  commandment; 
I  will  run.  30 

Enter  Old  Gobbo  with  a  basket, 

Gobbo.  Master  young  man,  you,  I  pray  you, 
which  is  the  way  to  Master  Jew's? 

Launcelot.  [Aside]  O  heavens,  this  is  my  true- 
begotten  father!  who,  being  more  than  sand-blind, 
high-gravel-blind,  knows  me  not:  I  will  try  con- 
fusions with  him. 

Gobbo.  Master  young  gentleman,  I  pray  you, 
which  is  the  way  to  Master  Jew's  ? 

Launcelot,     Turn  up  on  your  right  hand  at  the   40 
next  turning,  but,  at  the  next  turning  of  all,  on  your 
left;    marry,  at  the  very  next  turning,  turn  of  no 
hand,  but  turn  down  indirectly  to  the  Jew's  house. 

Gobbo.  By  God's  sonties,  'twill  be  a  hard  way  to 
hit.  Can  you  tell  me  whether  one  Launcelot,  that 
dwells  with  him,  dwell  with  him  or  no  ? 

Launcelot.  Talk  you  of  young  Master  Launce- 
lot.?— 

[Aside]  Mark  me  now;  now  will  I  raise  the  waters. 
—  Talk  you  of  young  Master  Launcelot  .^^ 

Gobbo.     No  master,  sir,  but  a  poor  man's  son :  his   50 
father,  though  I  say  it,  is  an  honest  exceeding  poor 
man,  and,  God  be  thanked,  well  to  live. 

Launcelot.  Well,  let  his  father  be  what  a'  will,  we 
talk  of  young  Master  Launcelot. 

Gobbo.     Your  worship's  friend  and  Launcelot,  sir. 

Launcelot.  But  I  pray  you,  ergo,  old  man,  ergo,  I 
beseech  you,  talk  you  of  young  Master  Launcelot  ? 


Scene  II]  MERCHANT  OF  VENICE  25 

Gobbo.  Of  Launcelot,  an't  please  your  mastership. 

Launcelot,     Ergo,  Master  Launcelot;   talk  not  of 
Master  Launcelot,  father;  for  the  young  gentleman   60 
(according  to  Fates  and  Destinies,  and  such  odd  say- 
ings, the  Sisters  Three,  and  such  branches  of  learning) 
is  indeed,  deceased;   or,  as  you  would  say  in  plain 
terms,  gone  to  heaven. 

Gobbo.  Marry,  God  forbid !  the  boy  was  the  very 
staff  of  my  age,  my  very  prop. 

Launcelot,  [Aside]  Do  I  look  like  a  cudgel  or  a 
hovel-post,  a  staff  or  a  prop  ?  —  Do  you  know  me, 
father  ? 

Gobbo,     Alack  the  day,  I  know  you  not,  young   70 
gentleman:   but,  I  pray  you,  tell  me,  is  my  boy  — 
God  rest  his  soul !  —  alive  or  dead  ? 

Launcelot,     Do  you  know  me,  father  ? 

Gobbo,  Alack,  sir,  I  am  sand-blind,  I  know  you 
not. 

Launcelot,  Nay,  indeed,  if  you  had  your  eyes, 
you  might  fail  of  the  knowing  me :  it  is  a  wise  father 
that  knows  his  own  child.  Well,  old  man,  I  will  tell 
you  news  of  your  son:  give  me  your  blessing:  truth 
will  come  to  light;  murder  cannot  be  hid  long;  a 
man's  son  may;  but,  in  the  end,  truth  will  out.  80 

Gobbo.  Pray  you,  sir,  stand  up;  I  am  sure  you  are 
not  Launcelot,  my  boy. 

Launcelot,  Pray  you,  let's  have  no  more  fooling 
about  it,  but  give  me  your  blessing;  I  am  Launcelot, 
your  boy  that  was,  your  son  that  is,  your  child  that 
shall  be. 

Gobbo,     I  cannot  think  you  are  my  son. 

Launcelot.     I  know  not  what  I  shall  think  of  that: 


26  MERCHANT  OF  VENICE  [Act  II 

but  I  am  Launcelot,  the  Jew's  man;  and  I  am  sure 
Margery  your  wife  is  my  mother. 

Gobbo.     Her  name  is  Margery,  indeed:    I'll  be    90 
sworn,  if  thou  be  Launcelot,  thou  art  mine  own  flesh 
and  blood.     Lord  worshipped  might  he  be!  what  a 
beard  hast  thou  got !  thou  hast  got  more  hair  on  thy 
chin  than  Dobbin  my  fill-horse  has  on  his  tail. 

Launcelot,  It  should  seem,  then,  that  Dobbin's 
tail  grows  backward;  I  am  sure  he  had  more  hair  of 
his  tail  than  I  have  of  my  face,  when  I  last  saw  him. 

Gobbo.  Lord,  how  art  thou  changed!  How  dost 
thou  and  thy  master  agree  ?  I  have  brought  him  a 
present.     How  'gree  you  now  ?  100 

Launcelot,  Well,  well;  but  for  mine  own  part,  as 
I  have  set  up  my  rest  to  run  away,  so  I  will  not  rest 
till  I  have  run  some  ground.  My  master's  a  very 
Jew:  give  him  a  present!  give  him  a  halter:  I  am 
famished  in  his  service;  you  may  tell  every  finger 
I  have  with  my  ribs.  Father,  I  am  glad  you  are 
come :  give  me  your  present  to  one  Master  Bassanio, 
who,  indeed,  gives  rare  new  liveries;  if  I  serve  not 
him,  I  will  run  as  far  as  God  has  any  ground.  —  O 
rare  fortune!  here  comes  the  man;  —  to  him,  father;  no 
for  I  am  a  Jew  if  I  serve  the  Jew  any  longer. 

Enter  Bassanio  vrith  Leonardo  and  other 
Followers. 
Bassanio,  You  may  do  so;  but  let  it  be  so  hasted 
that  supper  be  ready  at  the  farthest  by  five  of  the 
clock.  See  these  letters  delivered;  put  the  liveries 
to  making;  and  desire  Gratiano  to  come  anon  to  my 
lodging.  [Exit  a  Servant. 


ScEXE  II]  MERCHANT  OF  VENICE  27 

Launcelot.     To    him,    father. 

Gobbo.     God    bless    your    worship! 

Bassanio,  Gramercy!  Wouldst  thou  aught  with 
me  ?  120 

Gobbo.     Here's  my  son,  sir,  a  poor  boy,  — 

Launcelot,  Not  a  poor  boy,  sir,  but  the  rich  Jew's 
man;  that  would,  sir,  as  my  father  shall  specify,  — 

Gobbo.  He  hath  a  great  infection,  sir,  as  one 
would  say,  to  serve,  — 

Launcelot.  Indeed,  the  short  and  the  long  is,  I 
serve  the  Jew,  and  have  a  desire,  as  my  father  shall 
specify,  — 

Gobbo.  His  master  and  he  (saving  your  worship's 
reverence)  are  scarce  cater-cousins;  —  130 

Launcelot.  To  be  brief,  the  very  truth  is,  that  the 
Jew,  having  done  me  wrong,  doth  cause  me,  as  my 
father,  being  I  hope  an  old  man,  shall  frutify  unto 
you,  — 

Gobbo.  I  have  here  a  dish  of  doves  that  I  would 
bestow  upon  your  worship;   and  my  suit  is,  — 

Launcelot.  In  very  brief,  the  suit  is  impertinent 
to  myself,  as  your  worship  shall  know  by  this  honest 
old  man;  and,  though  I  say  it,  though  old  man,  yet, 
poor  man,  my  father.  140 

Bassanio.  One  speak  for  both  —  What  would 
you.? 

Launcelot.     Serve  you,  sir. 

Gobbo.     That  is  the  very  defect  of  the  matter,  sir. 

Bassanio.     I  know  thee  well;   thou  hast  obtain'd 
thy  suit : 
Shylock  thy  master  spoke  with  me  this  day. 
And  hath  preferr'd  thee;   if  it  be  preferment 


28  MERCHANT  OF  VENICE  [Act  II 

To  leave  a  rich  Jew's  service,  to  become 
The  follower  of  so  poor  a  gentleman. 

Launcelot.     The  old  proverb  is  very  well  parted 
between  my  master  Shylock  and  you,  sir:  you  have  150 
the  grace  of  God,  sir,  and  he  hath  enough. 

Bassanio,     Thou  speak'st  it  well.  —  Go,  father, 
with  thy  son.  — 
Take  leave  of  thy  old  master,  and  inquire 
My  lodging  out.  —  [to  his  Followers]  Give  him  a 

livery 
More  guarded  than  his  fellows' :  see  it  done. 

Launcelot.  Father,  in.  —  I  cannot  get  a  service, 
no !  I  have  ne'er  a  tongue  in  my  head !  —  Well  [look- 
ing on  his  palm]y  if  any  man  in  Italy  have  a  fairer 
table  which  doth  offer  to  swear  upon  a  book,  I  shall 
have  good  fortune!  Go  to;  here's  a  simple  line  of  leo 
life !  here's  a  small  trifle  of  wives :  alas,  fifteen  wives 
is  nothing !  eleven  widows  and  nine  maids  is  a  simple 
coming-in  for  one  man;  and  then  to  'scape  drowning 
thrice,  —  and  to  be  in  peril  of  my  life  with  the  edge 
of  a  feather-bed, — here  are  simple  scapes!  Well,  if 
fortune  be  a  woman,  she's  a  good  wench  for  this 
gear.  —  Father,  come;  I'll  take  my  leave  of  the  Jew 
in  the  twinkling  of  an  eye. 

[Exeunt  Launcelot  and  Old  Gobbo. 

Bassanio.     I  pray  thee,  good  Leonardo,  think  on 
this: 
These  things  being  bought  and  orderly  bestow'd,       170 
Return  in  haste,  for  I  do  feast  to-night 
My  best-esteem'd  acquaintance :  hie  thee,  go, 

Leonardo.     My   best    endeavors    shall    be  done 
herein. 


Scene  II]  MERCHANT  OF  VENICE  29 

Enter  Gratiano. 

Gratiano,     Where  is  your  master? 

Leonardo.  Yonder,  sir,  he  walks. 

[Exit. 

Gratiano.     Signior  Bassanio,  — 

Bassanio.     Gratiano ! 

Gratiano.     I  have  a  suit  to  you. 

Bassanio.  You    have    obtained    it. 

Gratiano.     You  must  not  deny  me:    I  must  go 
with  you  to  Belmont. 

Bassanio.     Why,  then  you  must.     But  hear  thee, 
Gratiano:  180 

Thou  art  too  wild,  too  rude,  and  bold  of  voice,  — 
Parts  that  become  thee  happily  enough. 
And  in  such  eyes  as  ours  appear  not  faults; 
But  where  thou  art  not  known,  why,  there  they 

show 
Something  too  liberal.     Pray  thee,  take  pain 
To  allay  with  some  cold  drops  of  modesty 
Thy    skipping    spirit;   lest,   through   thy  wild  be- 
havior, 
I  be  misconstrued  in  the  place  I  go  to. 
And  lose  my  hopes. 

Gratiano.  Signior  Bassanio,  hear  me: 

If  I  do  not  put  on  a  sober  habit,  190 

Talk  with  respect,  and  swear  but  now  and  then. 
Wear  prayer-books  in  my  pocket,  look  demurely 
Nay  more,  while  grace  is  saying,  hood  mine  eyes 
Thus  with  my  hat,  and  sigh  and  say  *  amen ' 
Use  all  the  observance  of  civility. 
Like  one  well  studied  in  a  sad  ostent 
To  please  his  grandam,  —  never  trust  me  mor^. 


30  MERCHANT  OF  VENICE  [Act  II 

Bassanio,     Well,  we  shall  see  your  bearing. 

Gratiano,     Nay,  but  I  bar  to-night;  you  shall  not 
gage  me 
By  what  we  do  to-night. 

Bassanio.  No,     that    were    pity;      200 

I  would  entreat  you  rather  to  put  on 
Your  boldest  suit  of  mirth,  for  we  have  friends 
That  purpose  merriment.     But  fare  you  well; 
I   have   some   business. 

Gratiano,     And  I  must  to  Lorenzo  and  the  rest; 
But  we  will  visit  you  at  supper-time.  [Exeunt. 


Scene  III 
Venice.     A  room  in  Shylock's  house. 
Enter  Jessica  and  Launcelot. 
Jessica.     I  am  sorry  thou  wilt  leave  my  father  so; 
Our  house  is  hell,  and  thou,  a  merry  devil, 
Didst  rob  it  of  some  taste  of  tediousness. 
But  fare  thee  well;  there  is  a  ducat  for  thee. 
And,  Launcelot,  soon  at  supper  shalt  thou  see 
Lorenzo,  who  is  thy  new  master's  guest: 
Give  him  this  letter;   do  it  secretly; 
And  so  farewell;   I  would  not  have  my  father 
See  me  in  talk  with  thee. 

Launcelot.     Adieu !  —  tears   exhibit   my   tongue,    lo 
Most  beautiful  pagan,  most  sweet  Jew !     if  a  Chris- 
tian do  not  play  the  knave  and  get  thee,  I  am  much 
deceived.     But  adieu :  these  foolish  drops  do  some- 
what drown  my  manly  spirit:    adieu! 

[Exit  Launcelot, 


Scene  IV]  MERCHANT  OF  VENICE  31 

Jessica,     Farewell,    good   Launcelot. 
Alack,  what  heinous  sin  is  it  in  me 
To  be  ashamed  to  be  my  father's  child! 
But  though  I  am  a  daughter  to  his  blood, 
I  am  not  to  his  manners:   O  Lorenzo, 
If  thou  keep  promise,  I  shall  end  this  strife;  20 

Become  a  Christian  and  thy  loving  wife.  [Exit, 

Scene  IV 

Venice,     A  street. 

Enter  Gratiano,  Lorenzo,  Salarino,  and  Salanio. 

Lorenzo,     Nay,  we  will  slink  away  in  supper-time, 

Disguise  us  at  my  lodging,  and  return 

All  in  an  hour. 

Gratiano,     We  have  not  made  good  preparation. 
Salarino,     We  have  not  spoke  us  yet  of  torch- 
bearers. 
Salanio.     'Tis  vile   unless   it   may   be  quaintly 
order'd; 
And  better,  in  my  mind,  not  undertook. 

Lorenzo.     'Tis  now  but  four  o'clock;    we  have 
two  hours 
To  furnish  us. 

Enter  Launcelot  imth  a  letter. 

Friend  Launcelot,  what's  the  news.^ 
Launcelot.  An  it  shall  please  you  to  break  up  this,    lo 
it  shall  seem  to  signify. 

Lorenzo.     I  know  the  hand:    in  faith,  'tis  a  fair 
hand; 
And  whiter  than  the  paper  it  writ  on 
Is  the  fair  hand  that  writ. 


32  MERCHANT  OF  VENICE  [Act  II 

Gratiano.  _  Love-news,    in    faith. 

Launcelot.     By  your  leave,  sir. 

Lorenzo.     Whither  goest  thou.^^ 

Launcelot.     Marry,  sir,  to  bid  my  old  master  the 
Jew  to  sup  to-night  with  my  new  master  the  Chris- 
tian. 

Lorenzo.     Hold  here,  take  this :  —  tell  gentle  Jes- 
sica I  will  not  fail  her;    speak  it  privately;        20 
Go.  —  Gentlemen,  [Exit  Launcelot. 

Will  you  prepare  you  for  this  masque  to-nigh t.^^ 
I  am  provided  of  a  torch-bearer. 

Salarino.     Ay,    marry,    I'll    be    gone    about    it 
straight. 

Salanio.     And  so  will  I. 

Lorenzo.  Meet  me  and   Gratiano 

At  Gratiano 's  lodging  some  hour  hence. 

Salarino.     'Tis  good  we  do  so. 

[Exeunt  Salarino  and  Salanio. 

Gratiano.     Was  not  that  letter  from  fair  Jessica  ? 

Lorenzo.     I  must  needs  tell  thee  all.     She  hath 
directed 
How  I  shall  take  her  from  her  father's  house;  30 

What  gold  and  jewels  she  is  furnish'd  with; 
What  page's  suit  she  hath  in  readiness. 
If  e'er  the  Jew  her  father  come  to  heaven, 
It  will  be  for  his  gentle  daughter's  sake; 
And  never  dare  misfortune  cross  her  foot, 
Unless  She  do  it  under  this  excuse,  — 
That  she  is  issue  to  a  faithless  Jew. 
Come,  go  with  me;  peruse  this  as  thou  goest: 
Fair  Jessica  shall  be  my  torch-bearer. 

[ExeunU 


Scene  V]  MERCHANT  OF  VENICE  33 

Scene  V 
Venice.     Before  Shylock's  house. 

Enter  Shylock  and  Launcelot. 

Shylock,     Well,  thou  shalt  see,  thy  eyes  shall  be 
thy  judge, 
The  difference  of  old  Shylock  and  Bassanio :  — 
What,  Jessica !  —  thou  shalt  not  gormandize. 
As  thou  hast  done  with  me;  —  What,  Jessica!  — 
And  sleep  and  snore  and  rend  apparel  out;  — 
Why,  Jessica,  I  say 

Launcelot.  Why,  Jessica! 

Shylock.     Who  bids  thee  call  ?     I  do  not  bid  thee 
call. 

Launcelot.     Your  worship  was  wont  to  tell  me  I 
could  do  nothing  without  bidding. 

Enter  Jessica. 

Jessica.     Call  you  ?     What  is  your  will  ?  10 

Shylock.     I  am  bid  forth  to  supper,  Jessica; 
There  are  my  keys.      But  wherefore  should  I  go? 
I  am  not  bid  for  love;    they  flatter  me : 
But  yet  I'll  go  in  hate,  to  feed  upon     ^ 
The  prodigal  Christian.  — Jessica,  my  girl. 
Look  to  my  house.  —  I  am  right  loth  to  go; 
There  is  some  ill  a-brewing  towards  my  rest. 
For  I  did  dream  of  money-bags  to-night. 

Launcelot.     I  beseech  you,  sir,  go;  my  young  mas- 
ter doth  expect  your  reproach.  20 

Shylock.     So  do  I  his. 

Launcelot.     And  they  have  conspired  together, — 


84  MERCHANT  OF  VENICE  [Act  II 

I  will  not  say  you  shall  see  a  masque;  but  if  you  do, 
then  it  was  not  for  nothing  that  my  nose  fell  a-bleed- 
ing  on  Black-Monday  last,  at  six  o'clock  i'  the  morn- 
ing, falling  out  that  year  on  Ash- Wednesday  was 
four  year  in  the  afternoon. 

Shylock,     What!     are  there  masques  ?    Hear  you 
me,  Jessica: 
Lock  up  my  doors;  and,  when  you  hear  the  drum 
And  the  vile  squealing  of  the  wry-neck'd  fife,  30 

Clamber  not  you  up  to  the  casements  then. 
Nor  thrust  your  head  into  the  public  street 
To  gaze  on  Christian  fools  with  varnish'd  faces; 
But  stop  my  house's  ears,  I  mean  my  casements; 
Let  not  the  sound  of  shallow  foppery  enter 
My  sober  house.  —  By  Jacob's  staff,  I  swear 
I  have  no  mind  of  feasting  forth  to-night: 
But  I  will  go.  —  Go  you  before  me,  sirrah; 
Say  I  will  come. 

Launcelot,  I  will  go  before,  sir.  — 

Mistress,  look  out  at  window,  for  all  this;  40 

There  will  come  a  Christian  by. 
Will  be  worth  a  Jewess'  eye.  [Exit. 

Shylock,     What  says  that  fool  of  Hagar's  offspring; 

hSi? 

Jessica.     His    words  were    'Farewell,   mistress'; 

nothing  else. 
Shylock.     The  patch  is  kind  enough;  but  a  huge 
feeder. 
Snail-slow  in  profit,  and  he  sleeps  by  day 
More  than  the  wild-cat:   drones  hive  not  with  me; 
Therefore  I  part  with  him;   and  part  with  him 
To  one  that  I  would  have  him  help  to  waste 


Scene  VI]  MERCHANT  OF  VENICE  35 

His  borrow'd  purse.  —  Well,  Jessica,  go  in;  50 

Perhaps  I  will  return  immediately; 
Do  as  I  bid  you;   shut  doors  after  you: 
Fast  bind,  fast  find,  — 

A  proverb  never  stale  in  thrifty  mind.  [Exit. 

Jessica.     Farewell;    and  if  my  fortune  be  not 
crost, 
I  have  a  father,  you  a  daughter,  lost.  [Exit. 


Scene  VI 

The  same. 

Enter  Gratiano  and  Salarino,  masqued. 
Gratiano.     This  is  the  pent-house  under  which 
Lorenzo 
Desired  us  to  make  stand. 

Salarino.  His  hour  is  almost  past. 

Gratiano.  And  it  is  marvel  he  out-dwells  his  hour, 
For  lovers  ever  run  before  the  clock. 

Salarino.  O,  ten  times  faster  Venus'  pigeons  fly 
To  seal  love's  bonds  new  made,  than  they  are  wont 
To  keep  obliged  faith  unf orf eited ! 

Gratiano.     That  ever  holds:    who  riseth  from  a 
feast 
With  that  keen  appetite  that  he  sits  down.^ 
Where  is  the  horse  that  doth  untread  again  10 

His  tedious  measures  with  the  unbated  fire 
That  he  did  pace  them  first  ?     All  things  that  are, 
Are  with  more  spirit  chased  than  enjoy'd. 

Salarino.     Here  comes  Lorenzo;    more  of  this 
hereafter. 


36  MERCHANT  OF  VENICE  [Act  II 

Enter  Lorenzo. 
Lorenzo,     Sweet  friends,  your  patience  for  my 
long  abode; 
Not  I,  but  my  affairs,  have  made  you  wait: 
When  you  shall  please  to  play  the  thieves  for  wives, 
I'll  watch  as  long  for  you  then.  —  Approach; 
Here  dwells  my  father  Jew. — Ho!  who's  within? 

Enter  Jessica,  above,  in  boy's  clothes, 
Jessica,     Who  are  you.^     Tell  me,  for  more  cer-   20 
tainty. 
Albeit  I'll  swear  that  I  do  know  your  tongue. 
Lorenzo.     Lorenzo,  and  thy  love. 
Jessica,     Lorenzo,  certain;   and  my  love,  indeed; 
For  who  love  I  so  much  ?  and  now  who  knows 
But  you,  Lorenzo,  whether  I  am  yours  ? 

Lorenzo,     Heaven  and  thy  thoughts  are  witness 

that  thou  art. 
Jessica,     Here,  catch  this  casket;  it  is  worth  the 
pains. 
I  am  glad  'tis  night,  you  do  not  look  on  me. 
For  I  am  much  ashamed  of  my  exchange: 
But  love  is  blind,  and  lovers  cannot  see  80 

The  pretty  follies  that  themselves  commit; 
For,  if  they  could,  Cupid  himself  would  blush 
To  see  me  thus  transformed  to  a  boy. 

Lorenzo,     Descend,  for  you  must  be  my  torch- 
bearer. 
Jessica,     What,  must   I   hold   a  candle  to   my 
shames  ? 
They  in  themselves,  good  sooth,  are  too  too  light. 
Why,  'tis  an  office  of  discovery,  love; 


Scene  VI]  MERCHANT  OF  VENICE  37 

And  I  should  be  obscured. 

Lorenzo.  So  you  are,  sweet. 

Even  in  the  lovely  garnish  of  a  boy. 
But  come  at  once;  40 

For  the  close  night  doth  play  the  runaway. 
And  we  are  stay'd  for  at  Bassanio's  feast. 

Jessica,     I  will  make  fast  the  doors,  and  gild  my- 
self 
With  some  more  ducats,  and  be  with  you  straight. 

[Exit  above. 
Gratiano.     Now,  by  my  hood,  a  Gentile  and  no 

Jew. 
Lorenzo.     Beshrew  me,  but  I  love  her  heartily: 
For  she  is  wise,  if  I  can  judge  of  her; 
And  fair  she  is,  if  that  mine  eyes  be  true; 
And  true  she  is,  as  she  hath  proved  herself; 
And  therefore,  like  herself,  wise,  fair,  and  true,  50 

Shall  she  be  placed  in  my  constant  soul. 

Enter  Jessica,  below. 
What,  art  thou  come .?  —  On,  gentlemen;  away 
Our  masquing  mates  by  this  time  for  us  stay. 

[Exit,  with  Jessica  and  Salarino. 

Enter  Antonio. 
Antonio.     Who's   there  .^^ 
Gratiano.     Signior  Antonio  ^ 

Antonio.     Fie,  fie,  Gratiano!   where  are  all  the 
rest? 
'Tis  nine  o'clock;   our  friends  all  stay  for  you. 
No  masque  to-night;   the  wind  is  come  about; 
Bassanio  presently  will  go  aboard: 
I  have  sent  twenty  out  to  seek  for  you.  60 


38  MERCHANT  OF  VENICE  [Act  II 

Gratiano,     I  am  glad  on't;    I  desire  no  more 
delight 
Than  to  be  under  sail  and  gone  to-night. 

[Exeunt, 

Scene  VII 
Belmont,    A  room  in  Portia's  house. 

Flourish  of  Cornets.    Enter  Portia,  with  the  Prince 
OF  Morocco,  and  both  their  Trains. 
Portia,     Go,  draw  aside  the  curtains,  and  discover 
The  several  caskets  to  this  noble  prince. 
Now  make  your  choice. 

Morocco.     The  first,  of  gold,  who  this  inscription 
bears : 
Who  chooseth  me  shall  gain  what  many  men  desire. 
The   second,    silver,    which   this   promise   carries: 

Who  chooseth  me  shall  get  as  much  as  he  deserves. 
This  third,  dull  lead,  with  warning  all  as  blunt: 
Who  chooseth  me  must  give  and  hazard  all  he  hath. 

How  shall  I  know  if  I  do  choose  the  right  .^^  10 

Portia.     The  one  of  them  contains  my  picture, 
prince; 
If  you  choose  that,  then  I  am  yours  withal. 

Morocco.     Some  god  direct  my  judgment!  Let  me 
see; 
I  will  survey  the  inscriptions  back  again. 
What  says  this  leaden  casket.^ 

Who  chooseth  me  must  give  and  hazard  all  he  hath. 

Must  give  —  for  what  ?  for  lead  ?  hazard  for  lead  ? 
This  casket  threatens:   men  that  hazard  all 


Scene  VII]  MERCHANT  OF  VENICE  39 

Do  it  in  hope  of  fair  advantages; 

A  golden  mind  stoops  not  to  shows  of  dross;  20 

I'll  then  nor  give  nor  hazard  aught  for  lead. 

What  says  the  silver  with  her  virgin  hue? 

Who  chooseth  me  shall  get  as  much  as  he  deserves. 

As  much  as  he  deserves  ?  —  Pause  there,  Morocco, 
And  weigh  thy  value  with  an  even  hand: 
If  thou  be'st  rated  by  thy  estimation, 
Thou  dost  deserve  enough;    and  yet  enough 
May  not  extend  so  far  as  to  the  lady: 
And  yet  to  be  afeard  of  my  deserving 
Were  but  a  weak  disabling  of  myself.  30 

As  much  as  I  deserve!  —  Why,  that's  the  lady: 
I  do  in  birth  deserve  her,  and  in  fortunes. 
In  graces,  and  in  quaUties  of  breeding; 
But  more  than  these,  in  love  I  do  deserve. 
What  if  I  stray 'd  no  further,  but  chose  here  ?  — 
Let's  see  once  more  this  saying  graved  in  gold: 
Who  chooseth  me  shall  gain  what  many  men  desire. 

Why,  that's  the  lady;   all  the  world  desires  her: 

From  the  four  corners  of  the  earth  they  come 

To  kiss  this  shrine,  this  mortal-breathing  saint.        40 

The  Hyrcanian  deserts  and  the  vasty  wilds 

Of  wide  Arabia  are  as  throughfares  now. 

For  princes  to  come  view  fair  Portia ! 

The  watery  kingdom,  whose  ambitious  head 

Spits  in  the  face  of  heaven,  is  no  bar 

To  stop  the  foreign  spirits;  but  they  come. 

As  o'er  a  brook,  to  see  fair  Portia. 

One  of  these  three  contains  her  heavenly  picture. 

Is't  like  that  lead  contains  her  ?     'Twere  damnation 


40  MERCHANT  OF  VENICE  [Act  II 

To  think  so  base  a  thought:  it  were  too  gross  50 

To  rib  her  cerecloth  in  the  obscure  grave. 

Or  shall  I  think  in  silver  she's  immured, 

Being  ten  times  undervalued  to  tried  gold  ? 

O  sinful  thought!     Never  so  rich  a  gem 

Was  set  in  worse  than  gold.     They  have  in  England 

A  coin  that  bears  the  figure  of  an  angel 

Stamped  in  gold,  but  that's  insculped  upon; 

But  here  an  angel  in  a  golden  bed 

Lies  all  within.  —  Deliver  me  the  key; 

Here  do  I  choose,  and  thrive  I  as  I  may!  60 

Portia,     There,  take  it,  prince;   and,  if  my  form 
lie  there. 
Then  I  am  yours.  [He  unlocks  the  golden  casket, 

Morocco,  O  hell !  what  have  we  here  ^ 

A  carrion  death,  within  whose  empty  eye 
There  is  a  written  scroll!     I'll  read  the  writing. 

All  that  glisters  is  not  gold; 

Often  have  you  heard  that  told: 

Many  a  man  his  life  hath  sold 

But  my  outside  to  behold: 

Had  you  been  as  wise  as  bold,  70 

Young  in  Hmbs,  in  judgment  old. 

Your  answer  had  not  been  inscroll'd: 

Fare  you  well;    your  suit  is  cold. 

Cold,  indeed;  and  labor  lost : 

Then,  farewell,  heat;    and  welcome,  frost!  — 
Portia,  adieu!     I  have  too  grieved  a  heart 
To  take  a  tedious  leave :  thus  losers  part. 

[Exit,  with  his  Train.       Flourish  of  cornets, 

Portia,     A  gentle  riddance.  —  Draw  the  curtains; 

go.     . 
Let  all  of  his  complexion  choose  me  so.  [Exeunt, 


ScExNE  VIII]  MERCHANT  OF  \TENICE         *  41 

Scene  VIII 
Venice.     A  street. 
Enter  Salarino  and  Salanio. 

Scdarino.     Why,  man,  I  saw  Bassanio  under  sail; 
With  him  is  Gratiano  gone  along; 
And  in  their  ship  I  am  sure  Lorenzo  is  not. 

Salanio.     The  villain  Jew  with  outcries  raised  the 
duke; 
Who  went  with  him  to  search  Bassanio's  ship. 

Salarino.     He  came  too  late,  the  ship  was  under 
sail  : 
But  there  the  duke  was  given  to  understand 
That  in  a  gondola  were  seen  together 
Lorenzo  and  his  amorous  Jessica; 
Besides,  Antonio  certified  the  duke  10 

They  were  not  with  Bassanio  in  his  ship. 

Salanio.     I  never  heard  a  passion  so  confused. 
So  strange,  outrageous,  and  so  variable. 
As  the  dog  Jew  did  utter  in  the  streets: 
'My  daughter!  —  O  my  ducats!  —  O  my  daughter! 
Fled  with  a  Christian  ?  —  O  my  Christian  ducats !  — 
Justice!  the  law!  my  ducats,  and  my  daughter! 
A  sealed  bag,  two  sealed  bags  of  ducats. 
Of  double  ducats,  stolen  from  me  by  my  daughter! 
And  jewels;  two  stones,  two  rich  and  precious  stones,    20 
Stolen  by  my  daughter!  —  Justice!  find  the  girl! 
She  hath  the  stones  upon  her,  and  the  ducats!' 

Salarino.     Why,  all  the  boys  in  Venice  follow  him. 
Crying  —  *his  stones,  his  daughter,  and  his  ducats. 

Salanio.     Let  good  Antonio  look  he  keep  his  day,' 
Or  he  shall  pay  for  this. 


42  MERCHANT  OF  VENICE  [Act  II 

Salarino,  Marry,  well  remember'd. 

I  reason'd  with  a  Frenchman  yesterday. 
Who  told  me,  in  the  narrow  seas  that  part 
The  French  and  English,  there  miscarried 
A  vessel  of  our  country,  richly  fraught:  30 

I  thought  upon  Antonio  when  he  told  me. 
And  wish'd  in  silence  that  it  were  not  his. 

Scdanio,     You  were  best  to  tell  Antonio  what  you 
hear; 
Yet  do  not  suddenly,  for  it  may  grieve  him. 

Salarino,     A  kinder  gentleman  treads  not  the 
earth. 
I  saw  Bassanio  and  Antonio  part: 
Bassanio  told  him  he  would  make  some  speed 
Of  his  return :  he  answered  —  *  Do  not  so. 
Slubber  not  business  for  my  sake,  Bassanio, 
But  stay  the  very  riping  of  the  time;  40 

And  for  the  Jew's  bond  which  he  hath  of  me, 
Let  it  not  enter  in  your  mind  of  love; 
Be  merry;   and  employ  your  chief  est  thoughts 
To  courtship,  and  such  fair  ostents  of  love 
As  shall  conveniently  become  you  there:' 
And  even  there,  his  eye  being  big  with  tears. 
Turning  his  face,  he  put  his  hand  behind  him. 
And  with  affection  wondrous  sensible 
He  wrung  Bassanio's  hand;   and  so  they  parted. 

Salanio     I  think  he  only  loves  the  world  for  him.    50 
I  pray  thee,  let  us  go  and  find  him  out. 
And  quicken  his  embraced  heaviness 
With  some  delight  or  other. 

Salarino,  Do  we  so.     [Exeunt 


Scene  IX]  MERCHANT  OF  VENICE  43 

Scene  IX 

Belmont.     A  room  in  Portia^ s  house. 

Enter  Nerissa  vyith  a  Servitor. 
Nerissa.     Quick,  quick,  I  pray  thee;    draw  the 
curtain  straight; 
The  Prince  of  Arragon  hath  ta'en  his  oath. 
And  comes  to  his  election  presently. 

Flourish  of  Cornets.     Enter  the  Prince  of  Arragon, 
Portia,   and  their  Trains. 
Portia.     Behold,  there  stand  the  caskets,  noble 
prince; 
If  you  choose  that  wherein  I  am  contained. 
Straight  shall  our  nuptial  rites  be  solemnized: 
But  if  you  fail,  without  more  speech,  my  lord. 
You  must  be  gone  from  hence  immediately. 

Arragon.     I  am  enjoin'd  by  oath  to  observe  three 
things : 
First,  never  to  unfold  to  any  one  10 

Which  casket  'twas  I  chose;    next,  if  I  fail 
Of  the  right  casket,  never  in  my  life 
To  woo  a  maid  in  way  of  marriage; 
Lastly,  if  I  do  fail  in  fortune  of  my  choice. 
Immediately  to  leave  you  and  be  gone. 

Portia.  To  these  injunctions  every  one  doth  swear 
That  comes  to  hazard  for  my  worthless  self. 

Arragon.     And  so  have  I  address'd  me.     Fortune 
now 
To  my  heart's  hope!  —  Gold,  silver,  and  base  lead. 

Who  chooseth  me  must  give  and  hazard  all  he  hath.  20 

You  shall  look  fairer  ere  I  give  or  hazard. 


44  MERCHANT  OF  VENICE  [Act  II 

What  says  the  golden  chest?  ha!   let  me  see: 

Who  chooseth  me  shall  gain  what  many  men  desire. 
What  many  men  desire !     That  many  may  be  meant 
By  the  fool  multitude,  that  choose  by  show, 
Not  learning  more  than  the  fond  eye  doth  teach, 
Which  pries  not  to  th 'interior,  but,  like  the  martlet. 
Builds  in  the  weather-  on  the  outward  wall. 
Even  in  the  force  and  road  of  casualty. 
I  will  not  choose  what  many  men  desire,  30 

Because  I  will  not  jump  with  common  spirits. 
And  rank  me  with  the  barbarous  multitudes. 
W^hy,  then  to  thee,  thou  silver  treasure-house; 
Tell  me  once  more  what  title  thou  dost  bear: 
Who  chooseth  me  shall  get  as  much  as  he  deserves. 

And  well  said  too;    for  who  shall  go  about 
To  cozen  fortune,  and  be  honorable 
Without  the  stamp  of  merit!     Let  none  presume 
To  wear  an  undeserved  dignity. 

O,  that  estates,  degrees,  and  offices  40 

Were  not  derived  corruptly!    and  that  clear  honor 
Were  purchased  by  the  merit  of  the  wearer! 
How  many  then  should  cover  that  stand  bare! 
How  many  be  commanded  that  command! 
How  much  low  peasantry  would  then  be  glean 'd 
From  the  true  seed  of  honor!   and  how  much  honor 
Pick'd  from  the  chaff  and  ruin  of  the  times. 
To  be  new-varnish'd !     Well,  but  to  my  choice: 
Who  chooseth  me  shall  get  as  much  as  he  deserves. 

I  will  assume  desert.  —  Give  me  a  key  for  this,  50 

And  instantly  unlock  my  fortunes  here. 

[He  opens  the  silver  casket. 


Scene  IX]  MERCHANT  OF  VENICE  45 

Portia     Too  long  a  pause  for  that  which  you  find 

•  there. 
Arragon.     What's  here  ?  the  portrait  of  a  blinking 
idiot, 
Presenting  me  a  schedule!    I  will  read  it. 
How  much  unlike  art  thou  to  Portia! 
How  much  unlike  my  hopes  and  my  deservings 
Who  chooseth  me  shall  get  as  much  as  he  deserves. 
Did  I  deserve  no  more  than  a  fool's  head.^ 
Is  that  my  prize  ?   are  my  deserts  no  better  ? 

Portia.     To  offend  and  judge  are  distinct  offices   60 
And  of  opposed  natures. 

Arragon,  What  is  here? 

[Reads] 

The  fire  seven  times  tried  this: 
Seven  times  tried  that  judgment  is. 
That  did  never  choose  amiss: 
Some  there  be  that  shadows  kiss; 
Such  have  but  a  shadow's  bliss: 
There  be  fools  alive,  I  wis, 
Silver'd  o'er;  and  so  was  this. 
Take  what  wife  you  will  to  bed, 
I  will  ever  be  your  head: 
So  begone:    you  are  sped. 

Still  more  fool  I  shall  appear 
By  the  time  I  linger  here- 
with one  fool's  head  I  came  to  woo, 
But  I  go  away  with  two. 
Sweet,  adieu!     I'll  keep  my  oath. 
Patiently  to  bear  my  wroth. 

[Exeunt  Arragon  and  Train. 
Portia.     Thus  hath  the  candle  singed  the  moth. 
O,  these  deliberate  fools!  when  they  do  choose. 
They  have  the  wisdom  by  their  wit  to  lose.  80 


46  MERCHANT  OF  VENICE  [Act  II 

Nerissa,     The  ancient  saying  is  no  heresy,  — 
Hanging  and  wiving  goes  by  destiny. 

Portia.     Come,  draw  the  curtain,  Nerissa. 

Enter  a  Servant. 

Servant,     Where  is  my  lady.^^ 

Portia,  Here:  what  would  my  lord? 

Servant.     Madam,  there  is  alighted  at  your  gate 
A  young  Venetian,  one  that  comes  before 
To  signify  the  approaching  of  his  lord, 
From  whom  he  bringeth  sensible  regreets; 
To  wit,  besides  commends  and  courteous  breath. 
Gifts  of  rich  value.     Yet  I  have  not  seen  90 

So  likely  an  ambassador  of  love: 
A  day  in  April  never  came  so  sweet. 
To  show  how  costly  summer  was  at  hand. 
As  this  fore-spurrer  comes  before  his  lord. 

Portia.     No  more,  I  pray  thee:  I  am  half  afeard 
Thou  wilt  say  anon  he  is  some  kin  to  thee. 
Thou  spend'st  such  high-day  wit  in  praising  him. 
Come,  come,  Nerissa;   for  I  long  to  see 
Quick  Cupid's  post  that  comes  so  mannerly. 

Nerissa,     Bassanio,  lord  Love,  if  thy  will  it  be!      lOO 

[Exeunt, 


ACT  III 

Scene  I 
Venice,    A  street. 

Enter  Salanio  and  Salarino. 

Scdanio,     Now,  what  news  on  the  Rialto? 

Salarino,  Why,  yet  it  lives  there  unchecked,  that 
Antonio  hath  a  ship  of  rich  lading  wrecked  on  the 
narrow  seas,  —  the  Goodwins,  I  think  they  call  the 
place;  a  very  dangerous  flat,  and  fatal,  where  the  car- 
casses of  many  a  tall  ship  lie  buried,  as  they  say,  if 
my  gossip  Report  be  an  honest  woman  of  her  word. 

Salanio.  I  would  she  were  as  lying  a  gossip  in 
that,  as  ever  knapped  ginger,  or  made  her  neighbors 
believe  she  wept  for  the  death  of  a  third  husband,  lo 
But  it  is  true,  —  without  any  slips  of  prolixity,  or 
crossing  the  plain  highway  of  talk,  —  that  the  good 
Antonio,  the  honest  Antonio,  —  O  that  I  had  a  title 
good  enough  to  keep  his  name  company !  — 

Salarino.     Come,  the  full  stop. 

Salanio.  Ha !  what  say 'st  thou  ?  Why,  the  end 
is,  he  hath  lost  a  ship. 

Salarino.  I  would  it  might  prove  the  end  of  his 
losses ! 

Salanio.     Let  me  say  *amen'  betimes,  lest  the 
devil  cross  my  prayer;   for  here  he  comes  in  the   20 
likeness  of  a  Jew. 


48  MERCHANT  OF  VENICE  [Act  III 

Enter  Shylock. 
How  now,  Shylock!    what  news  among  the  mer- 
chants ? 

Shylock,  You  knew,  none  so  well,  none  so  well  as 
you,  of  my  daughter's  flight. 

Salarino.  That's  certain.  I,  for  my  part,  knew 
the  tailor  that  made  the  wings  she  flew  withal. 

Salanio.  And  Shylock,  for  his  own  part,  knew 
the  bird  was  fledged;  and  then  it  is  the  complexion 
of  them  all  to  leave  the  dam.  30 

Shylock.     She  is  damned  for  it. 

Salarino.  That's  certain,  if  the  devil  may  be  her 
judge. 

Shylock.     My    own  flesh    and  blood  to    rebel! 

Salanio.  Out  upon  it,  old  carrion!  rebels  it  at 
these  years  ? 

Shylock.    I  say  my  daughter  is  my  flesh  and  blood. 

Salarino.     There  is  more  difference  between  thy 
flesh  and  hers  than  between  jet  and  ivory;    more 
between  your  bloods,  than  there  is  between  red  wine    40 
and  Rhenish.     But  tell  us,  do  you  hear  whether 
Antonio  have  had  any  loss  at  sea  or  no  ? 

Shylock.  There  I  have  another  bad  match:  a 
bankrupt,  a  prodigal,  who  dare  scarce  show  his  head 
on  the  Rialto;  a  beggar  that  was  used  to  come  so 
smug  upon  the  mart.  Let  him  look  to  his  bond :  he 
was  wont  to  call  me  usurer;  let  him  look  to  his  bond : 
he  was  wont  to  lend  money  for  a  Christian  courtesy; 
let  him  look  to  his  bond. 

Salarino.     Why,  I  am  sure,  if  he  forfeit,  thou  wilt   50 
not  take  his  flesh :  what's  that  good  for  ? 

Shylock.     To  bait  fish  withal:  if  it  will  feed  noth- 


Scene  I]  MERCHANT  OF  VENICE  49 

ing  else,  it  will  feed  my  revenge.  He  hath  disgraced 
me,  and  hindered  me  half  a  million;  laughed  at 
my  losses,  mocked  at  my  gains,  scorned  my  nation, 
thwarted  my  bargains,  cooled  my  friends,  heated 
mine  enemies;  and  what's  his  reason?  I  am  a 
Jew.  Hath  not  a  Jew  eyes  ?  hath  not  a  Jew  hands, 
organs,  dimensions,  senses,  affections,  passions.^ 
fed  with  the  same  food,  hurt  with  the  same  weapons,  60 
subject  to  the  same  diseases,  healed  by  the  same 
means,  warmed  and  cooled  by  the  same  winter  and 
summer,  as  a  Christian  is  ?  If  you  prick  us,  do  we 
not  bleed  ?  If  you  tickle  us,  do  we  not  laugh  ?  if 
you  poison  us,  do  we  not  die  ?  and  if  you  wrong  us, 
shall  we  not  revenge  ?  If  we  are  like  you  in  the  rest, 
we  will  resemble  you  in  that.  If  a  Jew  wrong  a 
Christian,  what  is  his  humility.'^  Revenge.  If  a 
Christian  wrong  a  Jew,  what  should  his  sufferance  be 
by  Christian  example.^  Why,  revenge.  The  vil-  70 
lany  you  teach  me,  I  will  execute;  and  it  shall  go 
hard  but  I  will  better  the  instruction. 

Enter  a  Servant. 
Servant.     Gentlemen,  my  master  Antonio  is  at  his 
house,  and  desires  to  speak  with  you  both. 

Scdarino,    We  have  been  up  and  down  to  seek  him. 

Enter  Tubal 
Salanio,     Here  comes  another  of  the  tribe;    a 
third  cannot  be  matched,  unless  the  devil  himself 
turn  Jew. 

[Exeunt  Salanio,  Salarino,  and  Servant. 
Shylock.     How   now,   Tubal!     what   news   from 
Genoa  .^   hast  thou  found  my  daughter  .^^  80 


50  MERCHANT  OF  VENICE  [Act  III 

Tubed.     I  often  came  where  I  did  hear  of  her,  but 
cannot  find  her. 

Shylock,  Why,  there,  there,  there,  there!  a  dia- 
mond gone,  cost  me  two  thousand  ducats  in  Frank- 
fort! The  curse  never  fell  upon  our  nation  till  now; 
I  never  felt  it  till  now:  two  thousand  ducats  in  that; 
and  other  precious,  precious  jewels.  I  would  my 
daughter  were  dead  at  my  foot,  and  the  jewels  in 
her  ear!  would  she  were  hearsed  at  my  foot,  and 
the  ducats  in  her  coffin !  No  news  of  them  ?  —  Why,  90 
so :  —  and  I  know  not  what's  spent  in  the  search. 
Why,  thou  loss  upon  loss!  the  thief  gone  with  so 
much,  and  so  much  to  find  the  thief;  and  no  satisfac- 
tion, no  revenge:  nor  no  ill  luck  stirring  but  what 
lights  o'  my  shoulders;  no  sighs  but  o'  my  breathing; 
no  tears  but  o' my  shedding.  ^J  [i 

Tubal,     Yes,  other  men  have  ill  luck  too.     Anto- 
nio, as  I  heard  in  Genoa,  — 

Shylock,     What,  what,  what.^^    ill  luck,  ill  luck? 

Tubal,     — hath  an  argosy  cast  away,  coming    100 
from  Tripolis. 

Shylock,     I  thank  God,  I  thank  God !  —  is  it  true, 
is  it  true  ? 

Tubal,     I  spoke  with  some  of  the  sailors  that  es- 
caped the  wreck. 

Shylock,     I  thank  thee,  good  Tubal:  good  news, 
good  news!    ha,  ha!  —  here  in  Genoa. 

Tubal.     Your  daughter  spent  in  Genoa,  as  I  heard, 
in  one  night  fourscore  ducats. 

Shylock,     Thou  stick'st  a  dagger  in  me:    I  shall  no 
never  see  my  gold  again.     Fourscore  ducats  at  a  sit- 
ting!   fourscore  ducats! 


Scene  II]  MERCHANT  OF  VENICE  51 

Tubal,  There  came  divers  of  Antonio's  creditors 
in  my  company  to  Venice,  that  swear  he  cannot 
choose  but  break. 

Shylock  I  am  very  glad  of  it:  I'll  plague  him; 
I'll  torture  him;   I  am  glad  of  it. 

Tubal,  One  of  them  showed  me  a  ring  that  he 
had  of  your  daughter  for  a  monkey. 

Shylock,     Out  upon  her!     Thou  torturest  me,  120 
Tubal:  it  was  my  turquoise :  I  had  it  of  Leah  when  I 
was  a  bachelor:  I  would  not  have  given  it  for  a  wil- 
derness of  monkeys. 

Tubal,     But  Antonio  is  certainly  undone. 

Shylock,  Nay,  that's  true,  that's  very  true.  Go, 
Tubal,  fee  me  an  officer,  bespeak  him  a  fortnight 
before:  I  will  have  the  heart  of  him,  if  he  forfeit; 
for,  were  he  out  of  Venice,  I  can  make  what  mer- 
chandise I  will.  Go,  Tubal,  and  meet  me  at  our 
synagogue;  go,  good  Tubal;  at  our  synagogue,  130 
Tubal. 

[Exeunt. 

Scene  II 
Belmont,    A  room  in  Portia's  house. 

Enter  Bassanio,  Portia,  Gratiano,  Nerissa,  and 
Attendants. 
Portia,     I  pray  you,  tarry:   pause  a  day  or  two 
Before  you  hazard;  for,  in  choosing  wrong, 
I  lose  your  company;  therefore,  forbear  awhile. 
There's  something  tells  me  —  but  it  is  not  love  — 
I  would  not  lose  you;  and  you  know  yourself 
Hate  counsels  not  in  such  a  quality. 
But  lest  you  should  not  understand  me  well,  — 


52  MERCHANT  OF  VENICE  [Act  III 

And  yet  a  maiden  hath  no  tongue  but  thought,  — 
I  would  detain  you  here  some  month  or  two 
Before  you  venture  for  me.     I  could  teach  you  10 

How  to  choose  right,  but  then  I  am  forsworn; 
So  will  I  never  be:  so  may  you  miss  me; 
But  if  you  do,  you'll  make  me  wish  a  sin, 
That  I  had  been  forsworn.     Beshrew  your  eyes. 
They  have  o'erlook'd  me  and  divided  me; 
One  half  of  me  is  yours,  the  other  half  yours,  — 
Mine  own,  I  would  say;  but  if  mine,  then  yours, 
_And  so  all  yours.     O,  these  naughty  times 
Put  bars  between  the  owners  and  their  rights! 
And  so,  though  yours,  not  yours.     Prove  it  so,  20 

Let  fortune  go  to  hell  for  it,  not  I. 
I  speak  too  long;   but  'tis  to  peize  the  time. 
To  eke  it  and  to  draw  it  out  in  length. 
To  stay  you  from  election. 

Bassanio,  Let  me  choose; 

For,  as  I  am,  I  live  upon  the  rack. 

Portia.     Upon  the  rack,  Bassanio!   then  confess 
What  treason  there  is  mingled  with  your  love. 

Bassanio,     None  but  that  ugly  treason  of  mis- 
trust. 
Which  makes  me  fear  the  enjoying  of  my  love: 
There  may  as  well  be  amity  and  life  30 

'Tween  snow  and  fire,  as  treason  and  my  love. 

Portia,     Ay,  but  I  fear  you  speak  upon  the  rack. 
Where  men  enforced  do  speak  anything. 

Bassanio.     Promise  me  life,  and  I'll  confess  the 
truth. 

Portia.     Well,  then,  confess  and  live. 

Bassanio.  Confess  and  love 


Scene  II]  MERCHANT  OF  VENICE  53 

Had  been  the  very  sum  of  my  confession: 

0  happy  torment,  when  my  torturer 
Doth  teach  me  answers  for  deHverance! 
But  let  me  to  my  fortune  and  the  caskets. 

Portia,     Away,  then!     I  am  locked  in  one  of 

them:  40 

If  you  do  love  me,  you  will  find  me  out. 
Nerissa  and  the  rest,  stand  all  aloof. 
Let  music  sound  while  he  doth  make  his  choice; 
Then,  if  he  lose,  he  makes  a  swan-like  end. 
Fading  in  music:  that  the  comparison 
May  stand  more  proper,  my  eye  shall  be  the  stream 
And  watery  death-bed  for  him.     He  may  win; 
And  what  is  music  then  ?    Then  music  is 
Even  as  the  flourish  when  true  subjects  bow 
To  a  new-crowned  monarch:  such  it  is,  50 

As  are  those  dulcet  sounds  in  break  of  day 
That  creep  into  the  dreaming  bridegroom's  ear 
And  summon  him  to  marriage.     Now  he  goes, 
With^o  less  presence,  but  with  much  more  love, 
Than  young  Alcides,  when  he  did  redeem 
The  virgin  tribute  paid  by  howling  Troy 
To  the  sea- monster:  I  stand  for  sacrifice; 
The  rest  aloof  are  the  Dardanian  wives. 
With  bleared  visages,  come  forth  to  view 
The  issue  of  the  exploit.     Go,  Hercules!  60 

Live  thou,  I  live.     With  much  much  more  dismay 

1  view  the  fight  than  thou  that  mak'st  the  fray. 
Music,  whilst  Bassanio  comments  on  the  caskets  to 

himself. 


54  MERCHANT  OF  VENICE  [Act  III 

SONG 

Tell  me  where  is  fancy  bred. 
Or  in  the  heart  or  in  the  head. 
How  begot,  how  nourished. 

Reply,  reply. 
It  is  engendered  in  the  eyes. 
With  gazing  fed;  and  fancy  dies 
In  the  cradle  where  it  lies. 

Let  us  all  ring  fancy's  knell;  70 

I'll  begin  it,  —  Ding,  dong,  bell. 
AU,  Ding,  dong,  bell. 

,*    Bassanio.    So  may  the  outward  shows  be  least 
themselves  : 

V  Jhe  world  is  still  deceived  with  ornament. 
In  law,  what  plea  so  tainted  and  corrupt 
But,  being  seasoned  with  a  gracious  voice, 
Obscures  the  show  of  evil  ?    In  religion,     t 
What  damned  error,  but  some  sober  brow 
Will  bless  it  and  approve  it  with  a  text. 
Hiding  the  grossness  with  fair  ornament  ?  80 

There  is  no  vice  so  simple  but  assumes 
Some  mark  of  virtue  on  his  outward  parts. 
How  many  cowards,  whose  hearts  are  all  as  false 
As  stairs  of  sand,  wear  yet  upon  their  chins 
The  beards  of  Hercules  and  frowning  Mars, 
Who,  inward  search'd,  have  livers  white  as  milk; 
And  these  assume  but  valor's  excrement 
To  render  them  redoubted!     Look  on  beauty. 
And  you  shall  see  'tis  purchased  by  the  weight; 
Which  therein  works  a  miracle  in  nature,  90 

Making  them  lightest  that  wear  most  of  it: 
So  are  those  crisped  snaky  golden  locks 
Which  make  such  wanton  gambols  with  the  wind, 
Upon  supposed  fairness,  often  known 


Scene  II]  MERCHANT  OF  VENICE  55 

To  be  the  dowry  of  a  second  head. 

The  skull  that  bred  them  in  the  sepulchre. 

Thus  ornament  is  but  the  guiled  shore 

To  a  most  dangerous  sea;  the  beauteous  scarf 

3^eiling  an  Indian  beauty;  in  a  word, 

The  seeming  truth  which  cunning  times  put  on  100 

To  entrap  the  wisest.     Therefore,  thou  gaudy  gold. 

Hard  food  for  Midas,  I  will  none  of  thee: 

Nor  none  of  thee,  thou  pale  and  common  drudge 

'Tween  man  and  man.     But    thou,  thou    meagre 

lead. 
Which  rather  threatenest  than  dost  promise  aught. 
Thy  paleness  moves  me  more  than  eloquence; 
And  here  choose  I.     Joy  be  the  consequence! 

Portia,     [Aside]  How  all  the  other  passions  fleet 

h-  to  air. 
As  doubtful  thoughts  and  rash-embraced  despair 
And  shuddering  fear  and  green-eyed  jealousy!  110 

0  love,  be  moderate;    allay  thy  ecstasy; 
In  measure  rain  thy  joy;   scant  this  excess. 

1  feel  too  much  thy  blessing:   make  it  less. 
For  fear  I  surfeit! 

Bassanio,  What  find  I  here  ? 

[Opening  the  leaden  casket. 
Fair  Portia's  counterfeit!     What  demi-god 
Hath  come  so  near  creation?     Move  these  eyes.'^ 
Or  whether,  riding  on  the  balls  of  mine. 
Seem  they  in  motion.'^     Here  are  sever'd  lips, 
Parted  with  sugar  breath:  so  sweet  a  bar 
Should  sunder  such  sweet  friends.     Here  in  her  hairs  120 
The  painter  plays  the  spider,  and  hath  woven 
A  golden  mesh  to  entrap  the  hearts  of  men. 


56  MERCHANT  OF  VENICE  [Act  III 

Faster  than  gnats  in  cobwebs.     But  her  eyes!  — 
How  could  he  see  to  do  them?   having  made  one, 
Methinks  it  should  have  power  to  steal  both  his, 
And  leave  itself  unfurnish'd.     Yet  look,  how  far 
The  substance  of  my  praise  doth  wrong  this  shadow 
In  underprizing  it,  so  far  this  shadow 
Doth  limp  behind  the  substance. — Here's  the  scroll, 
The  continent  and  summary  of  my  fortune.  130 

You  that  choose  not  by  the  view 
Chance  as  fair,  and  choose  as  true! 
Since  this  fortune  falls  to  you. 
Be  content,  and  seek  no  new. 
If  you  be  pleased  with  this 
And  hold  your  fortune  for  your  bliss. 
Turn  you  where  your  lady  is 
And  claim  her  with  a  loving  kiss, 

A  gentle  scroll.  —  Fair  lady,  by  your  leave, 

I  come  by  note,  to  give  and  to  receive.  140 

Like  one  of  two  contending  in  a  prize. 

That  thinks  he  hath  done  well  in  people's  eyes. 

Hearing    applause  and  universal  shout. 

Giddy  in  spirit,  still  gazing  in  a  doubt 

Whether  those  peals  of  praise  be  his  or  no; 

So,  thrice-fair  lady,  stand  I,  even  so; 

As  doubtful  whether  what  I  see  be  true. 

Until  confirm'd,  sign'd,  ratified  by  you. 

Portia.     You  see  me,  lord  Bassanio,  where  I  stand. 
Such  as  I  am:   though  for  myself  alone  150 

I  would  not  be  ambitious  in  my  wish. 
To  wish  myself  much  better;  yet  for  you 
I  would  be  trebled  twenty  times  myself: 
A  thousand  times  more  fair,  ten  thousand  times 
More  rich; 


Scene  II]  MERCHANT  OF  VENICE  57 

That,  only  to  stand  high  in  your  account, 

I  might  in  virtues,  beauties,  livings,  friends. 

Exceed  account:   but  the  full  sum  of  me 

Is  sum  of  —  something,  which,  to  term  in  gross. 

Is  an  -unlesson'd  girl,  unschool'd,  unpractised:        160 

Happy  in  this,  she  is  not  yet  so  old 

But  she  may  learn;    happier  than  this, 

She  is  not  bred  so  dull  but  she  can  learn; 

Happiest  of  all  in  that  her  gentle  spirit 

Commits  itself  to  yours  to  be  directed, 

As  from  her  lord,  her  governor,  her  king. 

Myself  and  what  is  mine  to  you  and  yours 

Is  now  converted:    but  now  I  was  the  lord 

Of  this  fair  mansion,  master  of  my  servants. 

Queen  o'er  myself;    and  even  now,  but  now,  170 

This  house,  these  servants,  and  this  same  myself 

Are  yours,  my  lord:   I  give  them  with  this  ring; 

Which  when  you  part  from,  lose,  or  give  away. 

Let  it  presage  the  ruin  of  your  love. 

And  be  my  vantage  to  exclaim  on  you. 

Bassanio.     Madam,  you  have  bereft  me  of  all 
words; 
Only  my  blood  speaks  to  you  in  my  veins: 
And  there  is  such  confusion  in  my  powers 
As,  after  some  oration  fairly  spoke 
By  a  beloved  prince,  there  doth  appear  180 

Among  the  buzzing,  pleased  multitude; 
Where  every  something,  being  blent  together, 
Turns  to  a  wild  of  nothing,  save  of  joy, 
Express'd  and  not  expressed.     But  when  this  ring 
Parts  from  this  finger,  then  parts  life  from  hence; 
O,  then  be  bold  to  say  Bassanio's  dead! 


58  MERCHANT  OF  VENICE  [Act  III 

Nerissa.     My  lord  and  lady,  it  is  now  our  time. 
That  have  stood  by  and  seen  our  wishes  prosper, 
To  cry,  good  joy:    good  joy,  my  lord  and  lady! 

Gratiano.     My  lord  Bassanio  and  my  gentle  lady,  190 
I  wish  you  all  the  joy  that  you  can  wish; 
For  I  am  sure  you  can  wish  none  from  me: 
And  when  your  honors  mean  to  solemnize 
The  bargain  of  your  faith,  I  do  beseech  you 
Even  at  that  time  I  may  be  married  too. 

Bassanio,     With  all  my  heart,  so  thou  canst  get  a 
wife. 

Gratiano.     I  thank  your  lordship;   you  have  got 
me  one. 
My  eyes,  my  lord,  can  look  as  swift  as  yours: 
You  saw  the  mistress,  I  beheld  the  maid; 
You  loved,  I  loved;   for  intermission  200 

No  more  pertains  to  me,  my  lord,  than  you. 
Your  fortune  stood  upon  the  caskets  there; 
And  so  did  mine  too,  as  the  matter  falls; 
For  wooing  here  until  I  sweat  again. 
And  swearing  till  my  very  roof  was  dry 
With  oaths  of  love,  at  last,  —  if  promise  last,  — 
I  got  a  promise  of  this  fair  one  here 
To  have  her  love,  provided  that  your  fortune 
Achieved  her  mistress. 

Portia.  Ts  this  true,  Nerissa? 

Nerissa.     Madame,  it  is,  so  you  stand  pleased 
withal.  210 

Bassanio.    And  do  you,  Gratiano,  mean  good  faith? 

Gratiano.     Yes,  faith,  my  lord. 

Bassanio.     Our  feast  shall  be  much  honor'd  in 
your  marriage.! 


Scene  II]  MERCHANT  OF  VENICE  59 

Gratiano.     But  who  comes  here?     Lorenzo  and 
his  infidel? 
What,  and  my  old  Venetian  friend,  Salerio? 

Enter  Lorenzo,  Jessica,  and  Salerio. 

Bassanio,     Lorenzo  and  Salerio,  welcome  hither; 
If  that  the  youth  of  my  new  interest  here 
Have  power  to  bid  you  welcome.  —  By  your  leave, 
I  bid  my  very  friends  and  countrymen. 
Sweet  Portia,  welcome. 

Portia.  So  do  I,  my  lord;  220 

They  are  entirely  welcome. 

Lorenzo,     I  thank  your  honor.  —  For  my  part, 
my  lord. 
My  purpose  was  not  to  have  seen  you  here; 
But  meeting  with  Salerio  by  the  way. 
He  did  entreat  me,  past  all  saying  nay. 
To  come  with  him  along. 

Salerio,  I  did,  my  lord; 

And  I  have  reason  for  it.     Signior  Antonio 
Commends  him  to  you.     [Gives  Bassanio  a  letter, 

Bassanio,  Ere  I  ope  this  letter, 

I  pray  you,  tell  me  how  my  good  friend  doth. 

Salerio,     Not  sick,  my  lord,  unless  it  be  in  mind;  230 
Nor  well,  unless  in  mind:    his  letter  there 
Will  show  you  his  estate. 

Gratiano,     Nerissa,  cheer  yon  stranger;    bid  her 
welcome.  — 
Your  hand,  Salerio.     What's  the  news  from  Venice  ? 
How  doth  that  royal  merchant,  good  Antonio? 
I  know  he  will  be  glad  of  our  success; 
We  are  the  Jasons,  we  have  won  the  fleece. 


60  MERCHANT  OF  VENICE  [Act  III 

Scderio,     I  would  you  had  won  the  fleece  that  he 
hath  lost! 

Portia.     There  are  some  shrewd  contents  in  yon 
same  paper, 
That  steal  the  color  from  Bassanio's  cheek:  240 

Some  dear  friend  dead;    else  nothing  in  the  world 
Could  turn  so  much  the  constitution 
Of  any  constant  man.     What,  worse  and  worse  ?  — 
With  leave,   Bassanio;    I   am  half  yourself. 
And  I  must  freely  have  the  half  of  anything 
That  this  same  paper  brings  you. 

Bassanio,  O  sweet  Portia, 

Here  are  a  few  of  the  unpleasant'st  words 
That  ever  blotted  paper!     Gentle  lady, 
When  I  did  first  impart  my  love  to  you, 
I  freely  told  you,  all  the  wealth  I  had  250 

Ran  in  my  veins,  —  I  was  a  gentleman; 
And  then  I  told  you  true:  and  yet,  dear  lady. 
Rating  myself  at  nothing,  you  shall  see 
How  much  I  was  a  braggart.     When  I  told  you 
My  state  was  nothing,  I  should  then  have  told  you 
That  I  was  worse  than  nothing;  for,  indeed, 
I  have  engaged  myself  to  a  dear  friend, 
Engaged  my  friend  to  his  mere  enemy, 
To  feed  my  means.     Here  is  a  letter,  lady; 
The  paper  as  the  body  of  my  friend,  260 

And  every  word  in  it  a  gaping  wound. 
Issuing  life-blood.     But  is  it  true,  Salerio  ? 
Have  all  his  ventures  fail'd  ?     What,  not  one  hit  ? 
From  Tripolis,  from  Mexico,  and  England, 
From  Lisbon,  Barbary,  and  India  ? 
And  not  one  vessel  'scape  the  dreadful  touch 


Scene  II]  MERCHANT  OF  VENICE  61 

Of  merchant-marring  rocks  ? 

Salerio.  Not  one,  my  lord. 

Besides,  it  should  appear  that,  if  he  had 
The  present  money  to  discharge  the  Jew, 
He  would  not  take  it.     Never  did  I  know  270 

A  creature  that  did  bear  the  shape  of  man, 
So  keen  and  greedy  to  confound  a  man: 
He  plies  the  duke  at  morning  and  at  night; 
And  doth  impeach  the  freedom  of  the  state. 
If  they  deny  him  justice:  twenty  merchants. 
The  duke  himself,  and  the  magnificoes 
Of  greatest  port,  have  all  persuaded  with  him; 
But  none  can  drive  him  from  the  envious  plea 
Of  forfeiture,  of  justice,  and  his  bond. 

Jessica.     When  I  was  with  him,  I  have  heard 
him  swear  280 

To  Tubal,  and  to  Chus,  his  countrymen, 
That  he  would  rather  have  Antonio's  flesh 
Than  twenty  times  the  value  of  the  sum 
That  he  did  owe  him;  and  I  know,  my  lord, 
If  law,  authority,  and  power  deny  not, 
It  will  go  hard  with  poor  Antonio. 

Portia.     Is  it  your  dear  friend  that  is  thus  in 
trouble  ? 

Bassanio.     The  dearest  friend  to  me,  the  kindest 
man. 
The  best  condition'd  and  unwearied  spirit 
In  doing  courtesies;    and  one  in  whom  290 

The  ancient  Roman  honor  more  appears 
Than  any  that  draws  breath  in  Italy. 

Portia.     What  sum  owes  he  the  Jew.? 

Bassanio.     For  me  three  thousand  ducats. 


62  MERCHANT  OF  VENICE  [Act  III 

Portia,  What,  no  more? 

Pay  him  six  thousand,  and  deface  the  bond; 
Double  six  thousand,  and  then  treble  that, 
Before  a  friend  of  this  description 
Shall  lose  a  hair  through  Bassanio's  fault. 
First  go  with  me  to  church  and  call  me  wife. 
And  then  away  to  Venice  to  your  friend;  300 

For  never  shall  you  lie  by  Portia's  side 
With  an  unquiet  soul.     You  shall  have  gold 
To  pay  the  petty  debt  twenty  times  over; 
When  it  is  paid,  bring  your  true  friend  along. 
My  maid  Nerissa  and  myself  meantime 
Will  live  as  maids  and  widows.     Come,  away! 
For  you  shall  hence  upon  your  wedding-day: 
Bid  your  friends  welcome,  show  a  merry  cheer: 
Since  you  are  dear  bought,  I  will  love  you  dear. 
But  let  me  hear  the  letter  of  your  friend.  310 

Bassanio,     {reads\ 

Sweet  Bassanio,  my  ships  have  all  miscarried,  my  creditors 
grow  cruel,  my  estate  is  very  low,  my  bond  to  the  Jew  is  forfeit; 
and  since,  in  paying  it,  it  is  impossible  I  should  live,  all  debts  are 
cleared  between  you  and  I,  if  I  might  but  see  you  at  my  death. 
Notwithstanding,  use  your  pleasure;  if  your  love  do  not  per- 
suade you  to  come,  let  not  my  letter. 

Portia,    O  love,  dispatch  all  business,  and  be  gone! 

Bassanio,     Since  I  have  your  good  leave  to  go 
away, 
I  will  make  haste:  but,  till  I  come  again. 
No  bed  shall  e'er  be  guilty  of  my  stay,  320 

Nor  rest  be  interposer  'twixt  us  twain.  [Exeunt, 


Scene  III]  MERCHANT  OF  VENICE  63 

Scene  III 
Venice,    A  street. 

Enter  Shylock,  Salarino,  Antonio,  and  Gaoler. 

Shylock.     Gaoler,  look  to  him:    tell  not  me  of 
mercy : 
This  is  the  fool  that  lends  out  money  gratis. 
Gaoler,  look  to  him. 

Antonio.  Hear  me  yet,  good  Shylock. 

Shylock.     I'll  have  my  bond;    speak  not  against 
my  bond: 
I  have  sworn  an  oath  that  I  will  have  my  bond. 
Thou  cairdst  me  dog  before  thou  hadst  a  cause: 
But,  since  I  am  a  dog,  beware  my  fangs: 
The  duke  shall  grant  me  justice.  —  I  do  wonder, 
Thou  naughty  gaoler,  that  thou  art  so  fond 
To  come  abroad  with  him  at  his  request.  10 

Antonio.     I  pray  thee,  hear  me  speak. 

Shylock.     I'll  have  my  bond;   I  will  not  hear  thee 
speak: 
I'll  have  my  bond;    and  therefore  speak  no  more. 
I'll  not  be  made  a  soft  and  dull-eyed  fool. 
To  shake  the  head,  relent,  and  sigh,  and  yield 
To  Christian  intercessors.     Follow  not; 
I'll  have  no  speaking;  I  will  have  my  bond.       [Exit. 

Salarino.     It  is  the  most  impenetrable  cur 
That  ever  kept  with  men. 

Antonio.  Let  him  alone: 

I'll  follow  him  no  more  with  bootless  prayers.  20 

He  seeks  my  life;  his  reason  well  I  know: 
I  oft  deliver'd  from  his  forfeitures 


64  MERCHANT  OF  VENICE  [Act  III 

Many  that  have  at  times  made  moan  to  me; 
Therefore  he  hates  me. 

Scdarino,  I  am  sure  the  duke 

Will  never  grant  this  forfeiture  to  hold. 

Antonio.     The  duke  cannot  deny  the  course  of 
law; 
For  the  commodity  that  strangers  have 
With  us  in  Venice,  if  it  be  denied, 
Will  much  impeach  the  justice  of  the  state; 
Since  that  the  trade  and  profit  of  the  city  30 

Consisteth  of  all  nations.     Therefore,  go: 
These  griefs  and  losses  have  so  'bated  me. 
That  I  shall  hardly  spare  a  pound  of  flesh 
To-morrow  to  my  bloody  creditor. 
Well,  gaoler,  on.  —  Pray  God,  Bassanio  come 
To  see  me  pay  his  debt,  and  then  I  care  not! 

[Exeunt 

Scene  IV 

Belmont.     A  room  in  Portia^ s  house. 

Enter  Portia,  Nerissa,  Lorenzo,  Jessica,  and 
Balthazar. 

Lorenzo.     Madam,  although  I  speak  it  in  your 
presence, 
You  have  a  noble  and  a  true  conceit 
Of  God-like  amity;    which  appears  most  strongly 
In  bearing  thus  the  absence  of  your  lord. 
But,  if  you  knew  to  whom  you  show  this  honor, 
How  true  a  gentleman  you  send  relief. 
How  dear  a  lover  of  my  lord  your  husband, 
I  know  you  would  be  prouder  of  the  work 
Than  customary  bounty  can  enforce  you. 


Scene  IV]  MERCHANT  OF  VENICE  65 

Portia,     I  never  did  repent  for  doing  good,  10 

Nor  shall  not  now:    for  in  companions 
That  do  converse  and  waste  the  time  together. 
Whose  souls  do  bear  an  equal  yoke  of  love. 
There  must  be  needs  a  like  proportion 
Of  lineaments,  of  manners,  and  of  spirit; 
Which  makes  me  think  that  this  Antonio, 
Being  the  bosom  lover  of  my  lord, 
Must  needs  be  like  my  lord.     If  it  be  so. 
How  little  is  the  cost  I  have  bestow'd 
In  purchasing  the  semblance  of  my  soul  20 

From  out  the  state  of  hellish  cruelty ! 
This  comes  too  near  the  praising  of  myself; 
Therefore  no  more  of  it :  hear  other  things. 
Lorenzo,  I  commit  into  your  hands 
The  husbandry  and  manage  of  my  house 
Until  my  lord's  return :  for  mine  own  part, 
I  have  toward  heaven  breathed  a  secret  vow 
To  live  in  prayer  and  contemplation. 
Only  attended  by  Nerissa  here. 

Until  her  husband  and  my  lord's  return:  30 

There  is  a  monastery  two  miles  off. 
And  there  we  will  abide.     I  do  desire  you 
Not  to  deny  this  imposition. 
The  which  my  love  and  some  necessity 
Now  lays  upon  you. 

Lorenzo.  Madam,  with  all  my  heart, 

I  shall  obey  you  in  all  fair  commands. 

Portia.     My  people  do  already  know  my  mind. 
And  will  acknowledge  you  and  Jessica 
In  place  of  lord  Bassanio  and  myself. 
So  fare  you  well  till  we  shall  meet  again.  40 


66  MERCHANT  OP  VENICE  [Act  III 

Lorenzo,     Fair  thoughts  and  happy  hours  attend 
on  you! 

Jessica.     I  wish  your  ladyship  all  heart's  content. 

Portia,     I  thank  you  for  your  wish,  and  am  well 
pleased 
To  wish  it  back  on  you:    fare  you  well,  Jessica. 
[Exeunt  Jessica   and  Lorenzo. 
Now,  Balthazar, 

As  I  have  ever  found  thee  honest-true, 
So  let  me  find  thee  still.     Take  this  same  letter, 
And  use  thou  all  the  endeavor  of  a  man 
In  speed  to  Padua;  see  thou  render  this 
Into  my  cousin's  hand,  Doctor  Bellario;  50 

And  look  what  notes  and  garments  he  doth  give 

thee. 
Bring  them,  I  pray  thee,  with  imagined  speed 
Unto  the  tranect,  to  the  common  ferry 
Which  trades  to  Venice.     Waste  no  time  in  words. 
But  get  thee  gone;   I  shall  be  there  before  thee. 

Balthazar.     Madam,   I  go  with    all    convenient 
speed.  [Exit. 

Portia.  Come  on,  Nerissa;  I  have  work  in  hand 
That  you  yet  know  not  of:  we'll  see  our  husbands 
Before  they  think  of  us. 

Nerissa.  Shall  they  see  us.^ 

Portia.     They  shall,  Nerissa;  but  in  such  a  habit    60 
That  they  shall  think  we  are  accomplished 
With  that  we  lack.     I'll  hold  thee  any  wager. 
When  we  are  both  accoutred  like  young  men, 
I'll  prove  the  prettier  fellow  of  the  two. 
And  wear  my  dagger  with  the  braver  grace; 
And  speak,  between  the  change  of  man  and  boy, 


Scene  V]  MERCHANT  OF  VENICE  67 

With  a  reed  voice;   and  turn  two  mincing  steps 

Into  a  manly  stride;    and  speak  of  frays, 

Like  a  fine-bragging  youth;  and  tell  quaint  lies, 

How  honorable  ladies  sought  my  love,  70 

Which  I  denying,  they  fell  sick  and  died; 

I  could  not  do  withal:   then  I'll  repent. 

And  wish,  for  all  that,  that  I  had  not  kill'd  them; 

And  twenty  of  these  puny  lies  I'll  tell, 

That  men  shall  swear  I've  discontinued  school 

Above  a  twelvemonth :  —  I  have  within  my  mind 

A  thousand  raw  tricks  of  these  bragging  Jacks, 

Which  I  will  practise. 

But  come,  I'll  tell  thee  all  my  whole  device 

When  I  am  in  my  coach,  which  stays  for  us  80 

At  the  park  gate;  and  therefore  haste  away. 

For  we  must  measure  twenty  miles  to-day.    [Exeunt. 

Scene  V 
The  same.     A  garden. 

Enter  Launcelot  and  Jessica. 

Launcelot.  Yes,  truly;  for,  look  you,  the  sins  of 
the  father  are  to  be  laid  upon  the  children:  therefore, 
I  promise  you,  I  fear  you.  I  was  always  plain  with 
you,  and  so  now  I  speak  my  agitation  of  the  matter: 
therefore  be  of  good  cheer;  for,  truly,  I  think  you 
are  damned.  There  is  but  one  hope  in  it  that  can  do 
you  any  good;  and  that  is  but  a  kind  of  bastard 
hope  neither. 

Jessica.     And  what  hope  is  that,  I  pray  thee  ? 

Launcelot.     Marry,  you  may  partly  hope  that  you    10 
are  not  the  Jew's  daughter. 


68  MERCHANT  OF  VENICE  [Act  III 

Jessica,  That  were  a  kind  of  bastard  hope,  indeed : 
so  the  sins  of  my  mother  should  be  visited  upon 
me. 

Launcelot.  Truly  then  I  fear  you  are  damned 
both  by  father  and  mother:  thus  when  I  shun  Scylla, 
your  father,  I  fall  into  Chary bdis,  your  mother;  well, 
you  are  gone  both  ways. 

Jessica.  I  shall  be  saved  by  my  husband;  he 
hath  made  me  a  Christian.  20 

Launcelot.  Truly,  the  more  to  blame  he:  we  were 
Christians  enow  before;  e'en  as  many  as  could  well 
live,  one  by  another.  This  making  of  Christians  will 
raise  the  price  of  hogs;  if  we  grow  all  to  be  pork- 
eaters,  we  shall  not  shortly  have  a  rasher  on  the  coals 
for  money. 

Enter  Lorenzo. 

Jessica.  I'll  tell  my  husband,  Launcelot,  what 
you  say;    here  he  comes.  ^ 

Lorenzo.  I  shall  grow  jealous  of  you  shortly, 
Launcelot,  if  you  thus  get  my  wife  into  corners.      30 

Jessica.  Nay,  you  need  not  fear  us,  Lorenzo. 
Launcelot  and  I  are  out :  he  tells  me  flatly,  there  is 
no  mercy  for  me  in  heaven,  because  I  am  a  Jew's 
daughter:  and  he  says  you  are  no  good  member  of 
the  commonwealth;  for,  in  converting  Jews  to 
Christians,  you  raise  the  price  of  pork. 

Lorenzo.  I  think  the  best  grace  of  wit  will  shortly 
turn  into  silence,  and  discourse  grow  commendable 
in  none  only  but  parrots.  —  Go  in,  sirrah;  bid  them 
prepare  for  dinner.  40 

Launcelot.  That  is  done,  sir;  they  have  all  stom- 
achs. 


Scene  V]  MERCHANT  OF  VENICE  69 

Lorenzo,     Goodly  Lord,  what  a  wit-snapper  are 
you!   then  bid  them  prepare  dinner. 

Launcelot.     That  is  done,  too,  sir;  only  'cover'  is 
the  word. 

Lorenzo,     Will  you  cover,  then,  sir  ? 

Launcelot.     Not  so,  sir,  neither;  I  know  my  duty. 

Lorenzo.  Yet  more  quarrelling  with  occasion! 
Wilt  thou  show  the  whole  wealth  of  thy  wit  in  an  in- 
stant ^  I  pray  thee,  understand  a  plain  man  in  his  50 
plain  meaning:  go  to  thy  fellows;  bid  them  cover 
the  table,  serve  in  the  meat,  and  we  will  come  in  to 
dinner. 

Launcelot.     For  the  table,  sir,  it  shall  be  served  in; 
for  the  meat,  sir,  it  shall  be  covered;  for  your  coming 
in  to  dinner,  sir,  why,  let  it  be  as  humors  and 
conceits  shall  govern. 

[Exit. 

Lorenzo.     O  dear  discretion,  how  his  words  are 
suited ! 
The  fool  hath  planted  in  his  memory 
An  army  of  good  words;   and  I  do  know 
A  many  fools,  that  stand  in  better  place,  60 

Garnish 'd  like  him,  that  for  a  tricksy  word 
Defy  the  matter.  —  How  cheer'st  thou,  Jessica  ^ 
And  now,  good  sweet,  say  thy  opinion: 
How  dost  thou  like  the  lord  Bassanio's  wife.^* 

Jessica.     Past  all  expressing.     It  is  very  meet 
The  lord  Bassanio  live  an  upright  life; 
For,  having  such  a  blessing  in  his  lady. 
He  finds  the  joys  of  heaven  here  on  earth; 
And  if  on  earth  he  do  not  mean  it,  then 
In  reason  he  should  never  come  to  heaven.  70 


70  MERCHANT  OF  VENICE  [Act  III 

Why,  if  two  gods  should  play  some  heavenly  match, 
And  on  the  wager  lay  two  earthly  women, 
And  Portia  one,  there  must  be  something  else 
Pawn'd  with  the  other;  for  the  poor  rude  world 
Hath  not  her  fellow. 

Lorenzo,  Even  such  a  husband 

Hast  thou  of  me,  as  she  is  for  a  wife. 

Jessica,     Nay,  but  ask  my  opinion  too  of  that. 

Lorenzo,     I  will  anon;  first,  let  us  go  to  dinner. 

Jessica,    Nay,  let  me  praise  you  while  I  have  a 
stomach. 

Lorenzo,     No,  pray  thee,  let  it  serve  for  table-talk;   so 
Then,  howsoe'er  thou  speak'st,  'mong  other  things 
I  shall  digest  it. 

Jessica.  Well,  I'll  set  you  forth.  [Exeunt, 


ACT  IV 

Scene  I 

Venice.     A  court  of  justice. 

Enter  the  Duke,  the  Magnificoes,  Antonio,  Bassanio, 
Gratiano,   Salarino,   Salerio,   and  others. 

Duke.     What,  is  Antonio  here? 

Antonio.     Ready,  so  please  your  grace. 

Duke.     I  am  sorry  for  thee;  thou  art  come  to  an- 
swer 
A  stony  adversary,  an  inhuman  wretch 
Uncapable  of  pity,  void  and  empty 
From  any  dram  of  mercy. 

Antonio.  I  have  heard 

Your  grace  hath  ta'en  great  pains  to  quahfy 
His  rigorous  course;   but  since  he  stands  obdurate. 
And  that  no  lawful  means  can  carry  me 
Out  of  his  envy's  reach,  I  do  oppose  10 

My  patience  to  his  fury;  and  am  arm'd 
To  suffer,  with  a  quietness  of  spirit. 
The  very  tyranny  and  rage  of  his.  > 

Duke.     Go  one,  and  call  the  Jew  into  the  court. 

Salerio.     He  is  ready  at  the  door:  he  comes,  my 
lord. 

Enter  Shylock. 

Duke.     Make  room,  and  let  him  stand  before  our 
face. 
Shylock,  the  world  thinks,  and  I  think  so  too. 
That  thou  but  lead'st  this  fashion  of  thy  malice 


72  MERCHANT  OF  VENICE  [Act  IV 

To  the  last  hour  of  act;    and  then  'tis  thought 

Thou'lt  show  thy  mercy  and  remorse,  more  strange   20 

Than  is  thy  strange  apparent  cruelty; 

And  where  thou  now  exact'st  the  penalty, 

Which  is  a  pound  of  this  poor  merchant's  flesh. 

Thou  wilt  not  only  loose  the  forfeiture. 

But,  touch'd  with  human  gentleness  and  love, 

Forgive  a  moiety  of  the  principal; 

Glancing  an  eye  of  pity  on  his  losses. 

That  have  of  late  so  huddled  on  his  back, 

Enough  to  press  a  royal  merchant  down 

And  pluck  commiseration  of  his  state  30 

From  brassy  bosoms  and  rough  hearts  of  flint. 

From  stubborn  Turks  and  Tartars,  never  train'd 

To  offices  of  tender  courtesy. 

We  all  expect  a  gentle  answer,  Jew. 

Shylock.     I  have  possess'd  your  grace  of  what  I 
purpose; 
And  by  our  holy  Sabbath  have  I  sworn 
To  have  the  due  and  forfeit  of  my  bond: 
If  you  deny  it,  let  the  danger  light 
Upon  your  charter  and  your  city's  freedom. 
You'll  ask  me,  why  I  rather  choose  to  have  40 

A  weight  of  carrion  flesh  than  to  receive 
Three  thousand  ducats:    I'll  not  answer  that: 
But  say  it  is  my  humor:   is  it  answer'd.'^ 
What  if  my  house  be  troubled  with  a  rat, 
And  I  be  pleased  to  give  ten  thousand  ducats 
To  have  it  baned?     What,  are  you  answer'd  yet? 
Some  men  there  are  love  not  a  gaping  pig; 
Some,  that  are  mad  if  they  behold  a  cat; 
Some,  when  they  hear  the  bagpipe. 


Scene  I]  MERCHANT  OF  VENICE  73 

As  there  is  no  firm  reason  to  be  render'd,  50 

Why  he  cannot  abide  a  gaping  pig; 

Why  he,  a  harmless  necessary  cat; 

Why  he,  a  wauKng  bagpipe;    but  of  force 

Must  yield  to  such  inevitable  shame 

As  to  offend,   himself  being  offended; 

So  can  I  give  no  reason,  nor  I  will  not. 

More  than  a  lodged  hate  and  a  certain  loathing 

I  bear  Antonio,  that  I  follow  thus 

A  losing  suit  against  him.     Are  you  answer 'd  ? 

Bassanio.     This  is  no  answer,  thou  unfeeling  man,    60 
To  excuse  the  current  of  thy  cruelty. 

Shylock.     I  am  not  bound  to  please  thee  with  my 
answer. 

Bassanio,     Do  all  men  kill  the  things  they  do  not 
love  ? 

Shyloclc,     Hates  any  man  the  thing  he  would  not 
kill.? 

Bassanio,     Every  offence  is  not  a  hate  at  first. 

Shylock,     What,   wouldst   thou   have   a   serpent 
sting  thee  twice.? 

Antonio,     I  pray  you,  think  you  question  with 
the  Jew: 
You  may  as  well  go  stand  upon  the  beach. 
And  bid  the  main  flood  bate  his  usual  height; 
You  may  as  well  use  question  with  the  wolf  70 

Why  he  hath  made  the  ewe  bleat  for  the  lamb; 
You  may  as  well  forbid  the  mountain  pines 
To  wag  their  high  tops,  and  to  make  no  noise 
When  they  are  fretted  with  the  gusts  of  heaven; 
You  may  as  well  do  anything  most  hard. 
As  seek  to  soften  that  (than  which  what's  harder.?) 


74  MERCHANT  OF  VENICE  [Act  IV 

His  Jewish  heart :  therefore,  I  do  beseech  you, 

Make  no  more  offers,  use  no  further  means ; 

But  with  all  brief  and  plain  convenieney. 

Let  me  have  judgment  and  the  Jew  his  will.  so 

Bassanio,     For  thy  three  thousand  ducats  here  is 
six. 

Shylock,     If  every  ducat  in  six  thousand  ducats 
Were  in  six  parts  and  every  part  a  ducat, 
I  would  not  draw  them ;     I  would  have  my  bond. 

Duke,     How  shalt  thou  hope  for  mercy,  rendering 
none? 

Shylock,     What  judgment  shall  I  dread,  doing  no 
wrong? 
You  have  among  you  many  a  purchased  slave. 
Which,  like  your  asses  and  your  dogs  and  mules. 
You  use  in  abject  and  in  slavish  parts. 
Because  you  bought  them.     Shall  I  say  to  you,  90 

Let  them  be  free,  marry  them  to  your  heirs  ? 
Why  sweat  they  under  burthens  ?     Let  their  beds 
Be  made  as  soft  as  yours,  and  let  their  palates 
Be  season 'd  with  such  viands  ?     You  will  answer, 
*  The  slaves  are  ours ' :  so  do  I  answer  you  : 
The  pound  of  flesh  which  I  demand  of  him 
Is  dearly  bought ;  'tis  mine,  and  I  will  have  it : 
If  you  deny  me,  fie  upon  your  law  ! 
There  is  no  force  in  the  decrees  of  Venice  : 
I  stand  for  judgment :  answer,  shall  I  have  it  ?  loo 

Duke,     Upon  my  power  I  may  dismiss  this  court. 
Unless  Bellario,  a  learned  doctor, 
Whom  I  have  sent  for  to  determine  this. 
Come  here  to-day. 

Salerio,  My  lord,  here  stays  without 


Scene  1]  MERCHANT  OF  VENICE  7^5 

A  messenger  with  letters  from  the  doctor, 
New  come  from  Padua. 

Duke,     Bring  us  the  letters ;  call  the  messenger. 

Bassanio.     Good  cheer,  Antonio  !     What,  man  ! 
courage  yet ! 
The  Jew  shall  have  my  flesh,  blood,  bones,  and  all, 
Ere  thou  shalt  lose  for  me  one  drop  of  blood.  no 

Antonio,     I  am  a  tainted  wether  of  the  flock, 
Meetest  for  death  :  the  weakest  kind  of  fruit 
Drops  earliest  to  the  ground  ;  and  so  let  me  : 
You  cannot  better  be  employ 'd,  Bassanio, 
Than  to  live  still  and  write  mine  epitaph. 

Enter  Nerissa,  dressed  like  a  lawyer^ s  clerk, 
Duke,     Came  you  from  Padua,  from  Bellario  ? 
Nerissa.     From  both,  my  lord  :  Bellario  greets 

your  grace.  [Presenting  a  letter. 

Bassanio,     Why  dost  thou  whet  thy  knife  so  earn- 
estly ? 
Shylock.     To  cut  the  forfeit  from  that  bankrupt 

there. 
Gratiano,     Not  on  thy  sole,  but  on  thy  soul,  harsh  120 
Jew, 
Thou  mak'st  thy  knife  keen ;  but  no  metal  can. 
No,  not  the  hangman's  axe,  bear  half  the  keenness 
Of  thy  sharp  envy.     Can  no  prayers  pierce  thee  ? 
Shylock.     No,  none  that  thou  hast  wit  enough  to 

make. 
Gratiano.     O,  be  thou  damn'd,  inexorable  dog  ! 
And  for  thy  life  let  justice  be  accused. 
Thou  almost  mak'st  me  waver  in  my  faith. 
To  hold  opinion  with  Pythagoras, 


76  MERCHANT  OF  VENICE  [Act  IV 

That  souls  of  animals  infuse  themselves 

Into  the  trunks  of  men:    thy  currish  spirit  130 

Govern'd  a  wolf,  who,  hang'd  for  human  slaughter, 

Even  from  the  gallows  did  his  fell  soul  fleet. 

And,  whilst  thou  lay'st  in  thy  unhallow'd  dam, 

Infused  itself  in  thee;   for  thy  desires 

Are  wolfish,  bloody,  starv'd,  and  ravenous. 

Shylock,     Till  thou  canst  rail  the  seal  from  off  my 
bond. 
Thou  but  offend'st  thy  lungs  to  speak  so  loud: 
Repair  thy  wit,  good  youth,  or  it  will  fall 
To  cureless  ruin.     I  stand  here  for  law. 

Duke,     This  letter  from  Bellario  doth  commend  140 
A  young  and  learned  doctor  to  our  court. 
Where  is  he  ? 

Nerissa.  He  attendeth  here  hard  by. 

To  know  your  answer,  whether  you'll  admit  him. 

Duke,     With  all  my  heart.     Some  three  or  four 
of  you 
Go  give  him  courteous  conduct  to  this  place. 
Meantime  the  court  shall  hear  Bellario's  letter. 

Clerk    [reads] , 

Your  grace  shall  understand  that  at  the  receipt  of  your  letter 
I  am  very  sick;  but  in  the  instant  that  your  messenger  came,  150 
in  loving  visitation  was  with  me  a  young  doctor  of  Rome;  his 
.  name  is  Balthazar.  I  acquainted  him  with  the  cause  in  con- 
troversy between  the  Jew  and  Antonio  the  merchant :  we  turn'd 
o'er  many  books  together:  he  is  furnished  with  my  opinion; 
which,  bettered  with  his  own  learning  (the  greatness  whereof 
I  cannot  enough  commend),  comes  with  him,  at  my  importu- 
nity, to  fill  up  your  grace's  request  in  my  stead.  I  beseech  you, 
let  his  lack  of  years  be  no  impediment  to  let  him  lack  a  reverend 
estimation;  for,  I  never  knew  so  young  a  body  with  so  old  a 
head.  I  leave  him  to  your  gracious  acceptance,  whose  trial  IGO 
shall  better  publish  his  commendation. 


Scene  I]  MERCHANT  OF  VENICE 

Duke,     You  hear  the  learn'd  Bellario,  what  he 
writes : 
And  here,  I  take  it,  is  the  doctor  come. 

Enter  Portia,  dressed  like  a  doctor  of  laws. 
Give  me  your  hand.     Come  you  from  old  Bellario  ? 

Portia,     I  did,  my  lord. 

Duke,  You  are  welcome :  take  your  place. 

Are  you  acquainted  with  the  difference 
That  holds  this  present  question  in  the  court  .^^ 

Portia,     I  am  informed  throughly  of  the  cause. 
Which  is  the  merchant  here,  and  which  the  Jew.^^ 

Duke,    Antonio  and  old  Shy  lock,  both  stand  forth. 

Portia,     Is  your  name  Shylock.^ 

Shylock,  Shylock  is  my  name. 

Portia,     Of  a  strange  nature  is  the  suit  you  follow; 
Yet  in  such  rule  that  the  Venetian  law 
Cannot  impugn  you,  as  you  do  proceed.  — 
\To  Antonio]     You  stand  within  his  danger,  do  you 
not.?^ 

Antonio,     Ay,  so  he  says. 

Portia,  Do  you  confess  the  bond.^ 

Antonio,     I  do. 

Portia,  Then  must  the  Jew  be  merciful. 

Shylock,     On  what  compulsion  must  I.^    tell  me 
that. 

Portia,     The  quality  of  mercy  is  not  strain'd; 
It  droppeth  as  the  gentle  rain  from  heaven 
Upon  the  place  beneath:  it  is  twice  bless'd; 
It  blesseth  him  that  gives,  and  him  that  takes: 
'Tis  mightiest  in  the  mightiest;    it  becomes 
The  throned  monarch  better  than  his  crown; 


78  MERCHANT  OF  VENICE  [Act  IV 

His  sceptre  shows  the  force  of  temporal  power, 

The  attribute  to  awe  and  majesty, 

Wherein  doth  sit  the  dread  and  fear  of  kings; 

But  mercy  is  above  this  sceptred  sway; 

It  is  enthroned  in  the  hearts  of  kings. 

It  is  an  attribute  to  God  himself;  190 

And  earthly  power  doth  then  show  likest  God's 

When  mercy  seasons  justice.     Therefore,  Jew, 

Though  justice  be  thy  plea,  consider  this,  — 

That  in  the  course  of  justice  none  of  us 

Should  see  salvation:  we  do  pray  for  mercy. 

And  that  same  prayer  doth  teach  us  all  to  render 

The  deeds  of  mercy.     I  have  spoke  thus  much 

To  mitigate  the  justice  of  thy  plea; 

Which  if  thou  follow,  this  strict  court  of  Venice 

Must   needs  give  sentence   'gainst  the  merchant  200 

there. 
Shyloch.     My  deeds  upon  my  head!     I  crave  the 

law. 
The  penalty  and  forfeit  of  my  bond. 

Portia,     Is  he  not  able  to  discharge  the  money? 
Bassanio,     Yes,  here  I  tender  it  for  him  in  the 

court; 
Yea,  twice  the  sum:   if  that  will  not  suffice, 
I  will  be  bound  to  pay  it  ten  times  o'er. 
On  forfeit  of  my  hands,  my  head,  my  heart: 
If  this  will  not  suffice,  it  must  appear 
That   malice   bears   down   truth.     And  I  beseech 

you. 
Wrest  once  the  law  to  your  authority:  210 

To  do  a  great  right  do  a  little  wrong. 
And  curb  this  cruel  devil  of  his  will. 


Scene  I]  MERCHANT  OF  VENICE  79 

Portia.     It  must  not  be;  there  is  no  power  in 
Venice 
Can  alter  a  decree  established: 
'Twill  be  recorded  for  a  precedent; 
And  many  an  error  by  the  same  example 
Will  rush  into  the  state.     It  cannot  be. 

Shylock,     A  Daniel  come  to  judgment!    yea,  a 
Daniel! 
O  wise  young  judge,  how  do  I  honor  thee! 

Portia,     I  pray  you,  let  me  look  upon  the  bond.  220 

Shylock,     Here  'tis,  most  reverend  doctor;  here  it 
is. 

Portia,     Shylock,  there's  thrice  thy  money  ofFer'd 
thee. 

Shylock,     An  oath,  an  oath,  I  have  an  oath  in 
heaven : 
Shall  I  lay  perjury  upon  my  soul  ? 
No,  not  for  Venice. 

Portia,  Why,  this  bond  is  forfeit; 

And  lawfully  by  this  the  Jew  may  claim 
A  pound  of  flesh,  to  be  by  him  cut  off 
Nearest  the  merchant's  heart.  —  Be  merciful; 
Take  thrice  thy  money;   bid  me  tear  the  bond. 

Shylock,     When  it  is  paid  according  to  the  tenor.  230 
It  doth  appear  you  are  a  worthy  judge; 
You  know  the  law,  your  exposition 
Hath  been   most  sound:     I    charge   you   by   the 

law. 
Whereof  you  are  a  well-deserving  pillar. 
Proceed  to  judgment.     By  my  soul  I  swear 
There  is  no  power  in  the  tongue  of  man 
To  alter  me:  I  stay  here  on  my  bond. 


80  MERCHANT  OF  VENICE  [Act  IV 

Antonio.     Most  heartily  I  do  beseech  the  court 
To  give  the  judgment. 

Portia,  Why,    then,    thus   it   is:    240 

You  must  prepare  your  bosom  for  his  knife. 

Shylock,  O  noble  judge!    O  excellent  young  man! 

Portia,     For  the  intent  and  purpose  of  the  law 
Hath  full  relation  to  the  penalty 
Which  here  appeareth  due  upon  the  bond. 

Shylock,     'Tis  very  true:    O  wise  and  upright 
judge! 
How  much  more  elder  art  thou  than  thy  looks! 

Portia,     Therefore  lay  bare  your  bosom. 

Shylock,  Ay,  his  breast: 

So  says  the  bond:  —  doth  it  not,  noble  judge ?  — 
Nearest  his  heart:  those  are  the  very  words. 

Portia.     It  is  so.     Are  there  balance  here  to  weigh  250 
the  flesh.? 

Shylock,     I  have  them  ready. 

Portia      Have  by  some  surgeon,  Shylock,  on  your 
charge, 
To  stop  his  wounds,  lest  he  do  bleed  to  death. 

Shylock,     Is  it  so  nominated  in  the  bond  ? 

Portia,     It  is  not  so  expressed;  but  what  of  that  ? 
'Twere  good  you  do  so  much  for  charity. 

Shylock.     I  cannot  find  it;    'tis  not  in  the  bond. 

Portia.     Come,  merchant,  have  you  anything  to 
say.? 

Antonio.     But  little;    I'm  arm'd  and  well  pre- 
pared. — 
Give  me  your  hand,  Bassanio:    fare  you  well!        260 
Grieve  not  that  I  am  fallen  to  this  for  you; 
For  herein  fortune  shows  herself  more  kind 


Scene  I]  MERCHANT  OF  VENICE  81 

Than  is  her  custom :   it  is  still  her  use 

To  let  the  wretched  man  outlive  his  wealth, 

To  view  with  hollow  eye  and  wrinkled  brow 

An  age  of  poverty;    from  which  lingering  penance 

Of  such  misery  doth  she  cut  me  off. 

Commend  me  to  your  honorable  wife: 

Tell  her  the  process  of  Antonio's  end; 

Say  how  I  loved  you,  speak  me  fair  in  death;  270 

And,  when  the  tale  is  told,  bid  her  be  judge 

Whether  Bassanio  had  not  once  a  love. 

Repent  not  you  that  you  shall  lose  your  friend, 

And  he  repents  not  that  he  pays  your  debt; 

For  if  the  Jew  do  cut  but  deep  enough 

I'll  pay  it  instantly  with  all  my  heart. 

Bassanio.     Antonio,  I  am  married  to  a  wife 
Which  is  as  dear  to  me  as  life  itself; 
But  life  itself,  my  wife,  and  all  the  world 
Are  not  with  me  esteem'd  above  thy  life;  280 

I  would  lose  all,  ay,  sacrifice  them  all 
Here  to  this  devil  to  deliver  you. 

Portia.     Your  wife  would  give  you  little  thanks 
for    that. 
If  she  were  by,  to  hear  you  make  the  oflFer. 

Gratiano.     I  have  a  wife  whom  I  protest,  I  love; 
I  would  she  were  in  heaven,  so  she  could 
Entreat  some  power  to  change  this  currish  Jew. 

Nerissa.     'Tis  well  you  offer  it  behind  her  back* 
The  wish  would  make  else  an  unquiet  house. 

Shylock.     [Aside]     These  be  the  Christian  hus-  290 
bands. 
I  have  a  daughter; 
Would  any  of  the  stock  of  Barrabas 


82  MERCHANT  OF  VENICE  [Act  IV 

Had  been  her  husband  rather  than  a  Christian!  — 
We  trifle  time;  I  pray  thee,  pursue  sentence. 

Portia,     A  pound  of  that  same  merchant's  flesh  is 
thine; 
The  court  awards  it,  and  the  law  doth  give  it. 

Shyloch,     Most  rightful  judge! 

Portia     And  you  must  cut  this  flesh  from  off  his 
breast; 
The  law  allows  it,  and  the  court  awards  it. 

Shylock.     Most     learned     judge!     A     sentence!  300 
Come,    prepare. 

Portia,     Tarry  a  little;  there  is  something  else. 
This  bond  doth  give  thee  here  no  jot  of  blood; 
The  words  expressly  are  '  a  pound  of  flesh'  : 
Take  then  thy  bond,  take  thou  thy  pound  of  flesh; 
But,  in  the  cutting  of  it,  if  thou  dost  shed 
One  drop  of  Christian  blood,  thy  lands  and  goods 
Are,  by  the  laws  of  Venice,  confiscate 
Unto  the  state  of  Venice. 

Gratiano,     O    upright    judge!     Mark,    Jew:     O 
learned    judge! 

Shylock,     Is  that  the  law  ? 

Portia.  Thyself  shall  see  the  act:  310 

For,  as  thou  urgest  justice,  be  assured 
Thou  shalt  have  justice,  more  than  thou  desirest. 

Gratiano,     O    learned    judge!     Mark,    Jew:     a 
learned    judge! 

Shylock.     I  take  this  offer,  then;  —  pay  the  bond 
thrice. 
And  let  the  Christian  go. 

Bassanio.  Here  is  the  money. 

PoHia.     Soft! 


Scene  I]  MERCHANT  OF  VENICE  83 

The  Jew  shall  have  all  justice;   soft!   no  haste: 
He  shall  have  nothing  but  the  penalty. 

Gratiano.     O  Jew!    an  upright  judge,  a  learned 
judge ! 

Portia.     Therefore  prepare  thee  to  cut  off  the  320 
flesh. 
Shed  thou  no  blood;    nor  cut  thou  less  nor  more 
But  just  a  pound  of  flesh :   if  thou  tak'st  more 
Or  less  than  a  just  pound,  —  be  it  but  so  much 
As  makes  it  light  or  heavy  in  the  substance. 
Or  the  division  of  the  twentieth  part 
Of  one  poor  scruple,  nay,  if  the  scale  do  turn 
But  in  the  estimation  of  a  hair,  — 
Thou  diest,  and  all  thy  goods  are  confiscate. 

Gratiano,     A  second  Daniel,  a  Daniel,  Jew! 
Now,  infidel,  I  have  thee  on  the  hip.  330 

Portia.     Why  doth  the  Jew  pause  ^  take  thy  for- 
feiture. 

Shylock.     Give  me  my  principal,  and  let  me  go. 

Bassanio.     I  have  it  ready  for  thee;    here  it  is. 

Portia.     He  hath  refused  it  in  the  open  court; 
He  shall  have  merely  justice  and  his  bond. 

Gratiano.      A    Daniel,    still    say    I;     a    second 
Daniel !  — 
I  thank  thee,  Jew,  for  teaching  me  that  word. 

Shylock.     Shall  I  not  have  barely  my  principal? 

Portia.     Thou  shalt  have  nothing  but  the  forfei- 
ture, ^  340 
To  be  so  taken  at  thy  peril,  Jew. 

Shylock.     Why,  then  the  devil  give  him  good  of  it ! 
I'll  stay  no  longer  question. 

Portia.  Tarry,  Jew: 


84  MERCHANT  OF  VENICE  [Act  IV 

The  law  hath  yet  another  hold  on  you. 

It  is  enacted  in  the  laws  of  Venice, 

If  it  be  proved  against  an  alien 

That  by  direct  or  indirect  attempts 

He  seek  the  life  of  any  citizen, 

The  i)arty  'gainst  the  which  he  doth  contrive 

Shall  seize  one  half  his  goods;    the  other  half 

Comes  to  the  privy  coffer  of  the  state;  350 

And  the  offender's  life  lies  in  the  mercy 

Of  the  duke  only,  'gainst  all  other  voice. 

In  which  predicament,  I  say,  thou  stand'st; 

For  it  appears,  by  manifest  proceeding. 

That  indirectly  and  directly  too 

Thou  hast  contrived  against  the  very  life 

Of  the  defendant;    and  thou  hast  incurr'd 

The  danger  formerly  by  me  rehearsed. 

Down,  therefore,  and  beg  mercy  of  the  duke. 

Gratiano.     Beg  that  thou  mayst  have  leave  to  360 
hang  thyself: 
And  yet,  thy  wealth  being  forfeit  to  the  state. 
Thou  hast  not  left  the  value  of  a  cord; 
Therefore  thou  must  be  hang'd  at  the  state's  charge. 

Duke,     That  thou  shalt  see  the  difference  of  our 
spirits, 
I  pardon  thee  thy  life  before  thou  ask  it: 
For  half  thy  wealth,  it  is  Antonio's; 
The  other  half  comes  to  the  general  state. 
Which  humbleness  may  drive  unto  a  fine. 

Portia.     Ay,  for  the  state;  not  for  Antonio. 

Shylock,     Nay,  take  my  life  and  all;  pardon  not  370 
that: 
You  take  my  house  when  you  do  take  the  prop 


Scene  I]  MERCHANT  OF  VENICE  85 

That  doth  sustain  my  house;  you  take  my  Hfe 
When  you  do  take  the  means  whereby  I  Hve. 

Portia,     What  mercy  can  you  render  him,  Anto- 
nio? 

Gratiano,     A  halter  gratis;  nothing  else,  for  God's 
sake. 

Antonio,     So  please  my  lord  the  duke  and  all  the 
court 
To  quit  the  fine  for  one  half  of  his  goods, 
I  am  content;   so  he  will  let  me  have 
The  other  half  in  use,  to  render  it. 
Upon  his  death,  unto  the  gentleman  380 

That  lately  stole  his  daughter; 
Two  things  provided  more,  —  that,  for  this  favor. 
He  presently  become  a  Christian; 
The  other,  that  he  do  record  a  gift. 
Here  in  the  court,  of  all  he  dies  possessed. 
Unto  his  son  Lorenzo  and  his  daughter. 

Duke,     He  shall  do  this;  or  else  I  do  recant 
The  pardon  that  I  late  pronounced  here. 

Portia,     Art  thou  contented,  Jew  ?  what  dost  thou 
say.?^ 

Shylock.     I  am  content. 

Portia.  Clerk,  draw  a  deed  of  gift.  390 

Shylock,     I  pray  you,  give  me  leave  to  go  from 
hence: 
I  am  not  well;   send  the  deed  after  me 
And  I  will  sign  it. 

Duke,  Get  thee  gone,  but  do  it. 

Gratiano.     In  christening,  thou  shalt  have  two 
godfathers; 
Had  I  been  judge,  thou  shouldst  have  had  ten  more. 


86  MERCHANT  OF  VENICE  [Act  IV 

To  bring  thee  to  the  gallows,  not  the  font. 

[Exit    Shylock. 

Duke.     Sir,  I  entreat  you  with  me  home  to  dinner. 

Portia.     I  humbly  do  desire  your  grace  of  pardon  : 
I  must  away  this  night  toward  Padua,  400 

And  it  is  meet  I  presently  set  forth. 

Duke.     I  am  sorry  that  your  leisure  serves  you 
not.  — 
Antonio,  gratify  this  gentleman; 
For,  in  my  mind,  you  are  much  bound  to  him. 

[Exeunt  Duke  and  his  Train. 

Bassanio.     Most  worthy  gentleman,  I  and  my 
friend 
Have  by  your  wisdom  been  this  day  acquitted 
Of  grievous  penalties;    in  lieu  whereof, 
Three  thousand  ducats,  due  unto  the  Jew, 
We  freely  cope  your  courteous  pains  withal. 

Antonio.     And  stand  indebted,  over  and  above,  410 
In  love  and  service  to  you  evermore. 

Portia.     He  is  well  paid  that  is  well  satisfied: 
And  I,  delivering  you,  am  satisfied. 
And  therein  do  account  myself  well  paid; 
My  mind  was  never  yet  more  mercenary. 
I  pray  you,  know  me  when  we  meet  again; 
I  wish  you  well,  and  so  I  take  my  leave. 

Bassanio.     Dear  sir,  of  force  I  must  attempt  you 
further; 
Take  some  remembrance  of  us,  as  a  tribute, 
Not  as  a  fee:  grant  me  two  things,  I  pray  you,  420 

Not  to  deny  me,  and  to  pardon  me. 

Portia.     You  press  me  far,  and  therefore  I  will 
yield.  — 


Scene  I]  MERCHANT  OF  VENICE  87 

[To  Antonio]     Give  me  your  gloves,  I'll  wear  them 

for  your  sake;  — 
[To  Bassanio]     And,  for  your  love,  I'll  take  this 

ring  from  you: 
Do  not  draw  back  your  hand;  I'll  take  no  more; 
And  you  in  love  shall  not  deny  me  this. 

Bassanio.     This  ring,  good  sir,  —  alas,  it  is  a  trifle; 
I  will  not  shame  myself  to  give  you  this. 

Portia.     I  will  have  nothing  else  but  only  this; 
And  now  methinks  I  have  a  mind  to  it. 

Bassanio.     There's  more  depends  on  this  than  on  430 
the  value. 
The  dearest  ring  in  Venice  will  I  give  you. 
And  find  it  out  by  proclamation; 
Only  for  this,  I  pray  you,  pardon  me. 

Portia.     I  see,  sir,  you  are  hberal  in  offers: 
You  taught  me  first  to  beg;  and  now  methinks 
You  teach  me  how  a  beggar  should  be  answer'd. 
Bassanio.     Good  sir,  this  ring  was  given  me  by 
my  wife; 
And  when  she  put  it  on,  she  made  me  vow 
That  I  should  neither  sell  nor  give  nor  lose  it. 

Portia.     That  'sense  serves  many  men  to  «save  440 
their  gifts. 
An  if  your  wife  be  not  a  mad-woman 
And  know  how  well  I  have  deserved  this  ring, 
She  would  not  hold  out  enemy  forever 
For  giving  it  to  me.     Well,  peace  be  with  you! 

[Exeunt  Portia  and  Nerissa. 
Antonio.     My  lord  Bassanio,  let  him  have  the 
ring; 
Let  his  deservings  and  my  love  withal 


88  MERCHANT  OF  VENICE  [Act  IV 

Be  valued  'gainst  your  wife's  commandment. 

Bassanio,     Go,  Gratiano,  run  and  overtake  him; 
Give  him  the  ring;  and  bring  him,  if  thou  canst. 
Unto  Antonio's  house:   away!   make  haste.  —  450 

[Exit    Gratiano. 
Come,  you  and  I  will  thither  presently; 
And  in  the  morning  early  will  we  both 
Fly  toward  Belmont:  come,  Antonio.  [Exeunt. 

Scene  II 

Venice.    A  street. 

Enter  Portia  and  Nerissa. 
Portia.     Inquire  the  Jew's  house  out,  give  him 
this  deed 
And  let  him  sign  it;  we'll  away  to-night 
And  be  a  day  before  our  husbands  home. 
This  deed  will  be  well  welcome  to  Lorenzo. 

Enter  Gratiano. 

Gratiano.     Fair  sir,  you  are  well  o'erta'en: 
My  Lord  Bassanio  upon  more  advice 
Hath  sent  you  here  this  ring,  and  doth  entreat 
Your  company  at  dinner. 

Portia  That    cannot    be: 

His  ring  I  do  accept  most  thankfully; 
And  so,  I  pray  you,  tell  him:  furthermore,  10 

I  pray  you,  show  my  youth  old  Shylock's  house. 

Gratiano.     That  will  1  do. 

Nerissa.  Sir,  I  would  speak  with  you.  — 

[Aside  to  Portia]     I'll  see  if  I  can  get  my  husband's 
ring. 


Scene  II]  MERCHANT  OF  VENICE 

Which  I  did  make  him  swear  to  keep  forever. 

Portia,     [Aside  to  Nerissa]     Thou  mayst,  I  war- 
rant.    We  shall  have  old  swearing 
That  they  did  give  the  rings  away  to  men; 
But  we'll  outface  them,  and  outswear  them  too.  — 
[Aloud\     Away!   make  haste;   thou  know'st  where 
I  will  tarry. 
Nerissa,     Come,  good  sir;   will  you  show  me  to 
this  house?  [Exeunt. 


ACT  V 

Scene  I 
Belmont,    Avenue  to  Portions  house. 

Enter  Lorenzo  and  Jessica. 

Lorenzo,     The  moon  shines  bright :  in  such  a  night 
as  this, 
When  the  sweet  wind  did  gently  kiss  the  trees, 
And  they  did  make  no  noise,  —  in  such  a  night 
Troilus,  methinks,  mounted  the  Trojan  walls. 
And  sigh'd  his  soul  toward  the  Grecian  tents. 
Where  Cressid  lay  that  night. 

Jessica,  In  such  a  night 

Did  Thisbe  fearfully  o'ertrip  the  dew. 
And  saw  the  lion's  shadow  ere  himself. 
And  ran  dismay 'd  away. 

Lorenzo.  In  such  a  night 

Stood  Dido  with  a  willow  in  her  hand  10 

Upon  the  wild  sea  banks,  and  waft  her  love 
To  come  again  to  Carthage. 

Jessica,  In  such  a  night 

Medea  gather'd  the  enchanted  herbs 
That  did  renew  old  ^Eson. 

Lorenzo,  In  such  a  night 

Did  Jessica  steal  from  the  wealthy  Jew, 
And  with  an  unthrift  love  did  run  from  Venice 
As  far  as  Belmont. 

Jessica.  In  such  a  night 


Scene  I]  MERCHANT  OF  VENICE  91 

Did  young  Lorenzo  swear  he  loved  her  well. 
Stealing  her  soul  with  many  vows  of  faith. 
And  ne'er  a  true  one. 

Lorenzo.  In  such  a  night  20 

Did  pretty  Jessica,  like  a  little  shrew. 
Slander  her  love,  and  he  forgave  it  her. 

Jessica,     I  would  out-night  you,  did  nobody  come  : 
But,  hark,  I  hear  the  footing  of  a  man. 

Enter   Stephano. 
Lorenzo,     Who  comes  so  fast  in  silence  of  the 

night  ? 
Stephano,     A  friend. 
Lorenzo,     A  friend!   what  friend?   your  name,  I 

pray  you,  friend  .^^ 
Stephano.     Stephano  is  my  name;    and  I  bring 
word 
My  mistress  wall  before  the  break  of  day 
Be  here  at  Belmont;   she  doth  stray  about  30 

By  holy  crosses,  where  she  kneels  and  prays 
For  happy  wedlock  hours. 

Lorenzo,  Who    cotnes   with   her.f^ 

Stephano,     None  but  a  holy  hermit  and  her  maid. 
I  pray  you,  is  my  master  yet  return'd? 

Lorenzo.     He  is  not,  nor  we  have  not  heard  from 
him.  — 
But  go  we  in,  I  pray  thee,  Jessica, 
And  ceremoniously  let  us  prepare 
Some  welcome  for  the  mistress  of  the  house. 

Enter  Launcelot. 
Launcelot,     Sola,  sola:  wo,  ha,  ho,  sola,  sola! 


92  MERCHANT  OF  VENICE  [Act  V 

Lorenzo,     Who  calls  ?  40 

Launcelot.     Sola!     Did  you  see  master  Lorenzo? 
Master  Lorenzo,   sola,   sola! 

Lorenzo,     Leave  hollaing,  man;    here. 

Launcelot,     Sola!     Where?     where? 

Lorenzo,     Here. 

Launcelot,  Tell  him  there's  a  post  come  from 
my  master,  with  his  horn  full  of  good  news;  my  mas- 
ter will  be  here  ere  morning.  [Exit, 

Lorenzo,     Sweet  soul,  let's  in,  and  there  expect 
their    coming. 
And  yet  no  matter:  why  should  we  go  in  ?  —  50 

My  friend  Stephano,  signify,  I  pray  you. 
Within  the  house,  your  mistress  is  at  hand: 
And  bring  your  music  forth  into  the  air.  — 

[Exit  Stephano. 
How  sweet  the  moonlight  sleeps  upon  this  bank! 
Here  will  we  sit  and  let  the  sounds  of  music 
Creep  in  our  ears;   soft  stillness  and  the  night 
Become  the  touches  of  sweet  harmony. 
Sit,  Jessica.     Look  how  the  floor  of  heaven 
Is  thick  inlaid  with  patines  of  bright  gold: 
There's  not  the  smallest  orb  which  thou  behold'st    60 
But  in  his  motion  like  an  angel  sings. 
Still  quiring  to  the  young-eyed  cherubins: 
Such  harmony  is  in  immortal  souls; 
But  whilst  this  muddy  vesture  of  decay 
Doth  grossly  close  it  in,  we  cannot  hear  it.  — 

Enter  Musicians. 
Come,  ho,  and  wake  Diana  with  a  hymn; 
With  sweetest  touches  pierce  your  mistress'  ear 


Scene  I]  MERCHANT  OF  VENICE  93 

And  draw  her  home  with  music.  [Music. 

Jessica.     I  am  never  merry  when  I  hear  sweet 
music. 

Lorenzo.     The  reason  is,  your  spirits  are  attentive:  70 
For  do  but  note  a  wild  and  wanton  herd. 
Or  race  of  youthful  and  unhandled  colts, 
Fetching  mad  bounds,  bellowing  and  neighing  loud, 
Which  is  the  hot  condition  of  their  blood; 
If  they  but  hear  perchance  a  trumpet  sound. 
Or  any  air  of  music  touch  their  ears, 
You  shall  perceive  them  make  a  mutual  stand. 
Their  savage  eyes  turn'd  to  a  modest  gaze 
By  the  sweet  power  of  music:    therefore  the  poet 
Did  feign  that  Orpheus  drew  trees,   stones,   and 

floods;  80 

Since  nought  so  stockish,  hard,  and  full  of  rage. 
But  music  for  the  time  doth  change  his  nature. 
|rhe  man  that  hath  no  music  in  himself, 
/Nor  is  not  moved  with  concord  of  sweet  sounds. 
Is  fit  for  treasons,  stratagems,  and  spoils; 
The  motions  of  his  spirit  are  dull  as  night. 
And  his  affections  dark  as  Erebus: 
Let  no  such  man  be  trusted.     Mark  the  music. 

Enter  Portia  and  Nerissa  at  a  distance. 
Portia.     That  light  we  see  is  burning  in  my  hall. 
How  far  that  little  candle  throws  his  beams!  90 

So  shines  a  good  deed  in  a  naughty  world. 

Nerissa.     When  the  moon  shone,  we  did  not  see 

the  candle. 
Portia.     So  doth  the  greater  glory  dim  the  less : 
A  substitute  shines  brightly  as  a  king 


94  MERCHANT  OF  VENICE  [Act  V 

Until  a  king  be  by;  and  then  his  state 
Empties  itself,  as  doth  an  inland  brook 
Into  the  main  of  waters.     Music!  hark! 

Nerissa,     It  is  your  music,  madam,  of  the  house. 

Portia,     Nothing  is  good,  I  see,  without  respect; 
Methinks  it  sounds  much  sweeter  than  by  day.        lOO 

Nerissa.     Silence    bestows    that    virtue    on    it, 
madam. 

Portia,     The  crow  doth  sing  as  sweetly  as  the  lark. 
When  neither  is  attended;   and  I  think 
The  nightingale,  if  she  should  sing  by  day. 
When  every  goose  is  cackling,  would  be  thought 
No  better  a  musician  than  the  wren. 
How  many  things  by  season  seasoned  are 
To  their  right  praise  and  true  perfection !  — 
Peace,  ho!  the  moon  sleeps  with  Endymion 
And  would  not  be  awaked!  [Music  ceases, 

Lorenzo  That  is  the  voice,  110 

Or  I  am  much  deceived,  of  Portia. 

Portia,     He  knows  me,  as  the  blind  man  knows 
the  cuckoo. 
By  the  bad  voice. 

Lorenzo,  Dear  lady,  welcome  home. 

Portia.     We  have  been  praying  for  our  husbands' 
welfare. 
Which  speed,  we  hope,  the  better  for  our  words. 
Are  they  return'd  ? 

Lorenzo,  Madam,  they  are  not  yet; 

But  there  is  come  a  messenger  before. 
To  signify  their  coming. 

Portia,  Go  in,  Nerissa; 

Give  order  to  my  servants  that  they  take 


Scene  I]  MERCHANT  OF  VENICE  95 

No  note  at  all  of  our  being  absent  hence;  —  120 

Nor  you,  Lorenzo;  —  Jessica,  nor  you. 

[A  tucket  sounds. 
Lorenzo,     Your  husband  is  at  hand;    I  hear  his 
trumpet: 
We  are  no  tell-tales,  madam;  fear  you  not. 

Portia,     This  night  methinks  is  but  the  daylight 
sick; 
It  looks  a  little  paler;  'tis  a  day,  ^ 

Such  as  the  day  is  when  the  sun  is  hid. 

Enter    Bassanio,    Antonio,    Gratiano,    and 

their  Followers. 
Bassanio,     We  should  hold  day  with  the  Anti- 
podes, 
If  you  would  walk  in  absence  of  the  sun. 

Portia,     Let  me  give  light,  but  let  me  not  be  light; 
For  a  light  wife  doth  make  a  heavy  husband,  130 

And  never  be  Bassanio  so  for  me; 
But  God  sort  all!     You  are  welcome  home,  my  lord. 
Bassanio.     I  thank  you,  madam.     Give  welcome 
to  my  friend. 
This  is  the  man,  this  is  Antonio, 
To  whom  I  am  so  inJBnitely  bound. 

Portia.     You  should  in  all  sense  be  much  bound 
to  him. 
For,  as  I  hear,  he  was  much  bound  for  you. 

Antonio,     No  more  than  I  am  well  acquitted  of. 
Portia,     Sir,  you  are  very  welcome  to  our  house: 
It  must  appear  in  other  ways  than  words,  140 

Therefore  I  scant  this  breathing  courtesy. 

[Gratiano   and  Nerissa  talk  apart. 


96  MERCHANT  OF  VENICE  [Act  V 

Gratiano.     By  yonder  moon  I  swear  you  do  me 
wrong; 
In  faith,  I  gave  it  to  the  judge's  clerk. 

Portia.     A  quarrel,  ho,  already!   what's  the  mat- 
ter? 

Gratiano,     About  a  hoop  of  gold,  a  paltry  ring 
That  she  did  give  me;  whose  posy  was 
For  all  the  world  like  cutler's  poetry 
Upon  a  knife,  *Love  me,  and  leave  me  not.' 

Nerissa.     What  talk  you  of  the  posy,  or  the  value  ? 
You  swore  to  me,  when  I  did  give  it  you,  150 

That  you  would  wear  it  till  your  hour  of  death; 
And  that > it  should  lie  with  you  in  your  grave: 
Though  not  for  me,  yet  for  your  vehement  oaths, 
You  should  have  been  respective  and  have  kept  it. 
Gave  it  a  judge's  clerk!  —  but  well  I  know 
The  clerk  will  ne'er  wear  hair  on's  face  that  had  it. 

Gratiano,     He  will,  an  if  he  live  to  be  a  man. 

Nerissa,     Ay,  if  a  woman  live  to  be  a  man. 

Gratiano.    Now,  by  this  hand,  I  gave  it  to  a  youth, 
A  kind  of  boy;   a  little  scrubbed  boy,  160 

No  higher  than  thyself,  the  judge's  clerk; 
A  prating  boy,  that  begg'd  it  as  a  fee; 
I  could  not  for  my  heart  deny  it  him. 

Portia.     You  were  to  blame,  I  must  be  plain  with 
you. 
To  part  so  slightly  with  your  wife's  first  gift; 
A  thing  stuck  on  with  oaths  upon  your  finger 
And  so  riveted  with  faith  unto  your  flesh. 
I  gave  my  love  a  ring  and  made  him  swear 
Never  to  part  with  it;  and  here  he  stands; 
I  dare  be  sworn  for  him,  he  would  not  leave  it  170 


Scene  I]  MERCHANT  OF  VENICE  97 

Nor  pluck  it  from  his  finger,  for  the  wealth 
That  the  world  masters.     Now,  in  faith,  Gratiano, 
You  give  your  wife  too  unkind  a  cause  of  grief; 
An't  were  to  me,  I  should  be  mad  at  it. 

Bassanio,     [Aside]     Why,  I  were  best  to  cut  my 
left  hand  off 
And  swear  I  lost  the  ring  defending  it. 

Gratiano.     My  lord  Bassanio  gave  his  ring  away 
Unto  the  judge  that  begg'd  it  and,  indeed. 
Deserved  it  too;  and  then  the  boy,  his  clerk. 
That  took  some  pains  in  writing,  he  begg'd  mine:  180 
And  neither  man  nor  master  would  take  aught 
But  the  two  rings. 

Portia,  What  ring  gave  you,  my  lord? 

Not  that,  I  hope,  which  you  received  of  me. 

Bassanio,     If  I  could  add  a  lie  unto  a  fault, 
I  would  deny  it;  but  you  see  my  finger 
Hath  not  the  ring  upon  it;   it  is  gone. 

Portia,     Even  so  void  is  your  false  heart  of  truth. 
By  heaven,  I  will  never  be  your  wife 
Until  I  see  the  ring. 

Nerissa,  Nor  I  yours. 

Till  I  again  see  mine. 

Bassanio,  Sweet  Portia,  190 

If  you  did  know  to  whom  I  gave  the  ring. 
If  you  did  know  for  whom  I  gave  the  ring. 
And  would  conceive  for  what  I  gave  the  ring. 
And  how  unwillingly  I  left  the  ring. 
When  naught  would  be  accepted  but  the  ring. 
You  would  abate  the  strength  of  your  displeasure. 

Portia.     If  you  had  known  the  virtue  of  the  ring, 
Or  half  her  worthiness  that  gave  the  ring. 


08  MERCHANT  OF  VENICE  [Act  V 

Or  your  own  honor  to  contain  the  ring, 

You  would  not  then  have  parted  with  the  ring.        200 

What  man  is  there  so  much  unreasonable. 

If  you  had  pleased  to  have  defended  it 

With  any  terms  of  zeal,  wanted  the  modesty 

To  urge  the  thing  held  as  a  ceremony  ? 

Nerissa  teaches  me  what  to  believe; 

I'll  die  for't  but  some  woman  had  the  ring. 

Bassanio,     No,  by  mine  honor,  madam,  by  my 
soul. 
No  woman  had  it,  but  a  civil  doctor, 
Which  did  refuse  three  thousand  ducats  of  me. 
And  begg'd  the  ring;  the  which  I  did  deny  him,        210 
And  sufler'd  him  to  go  displeased  away; 
Even  he  that  did  uphold  the  very  life 
Of  my  dear  friend.     What  should  I  say,  sweet 

lady.?^ 
I  was  enforced  to  send  it  after  him; 
I  was  beset  with  shame  and  courtesy; 
My  honor  would  not  let  ingratitude 
So  much  besmear  it.     Pardon  me,  good  lady; 
For,  by  these  blessed  candles  of  the  night. 
Had  you  been  there,  I  think,  you  would  have  begg'd 
The  ring  of  me  to  give  the  worthy  doctor.  220 

Portia,    Let  not  that  doctor  e'er  come  near  my 
house: 
Since  he  hath  got  the  jewel  that  I  loved. 
And  that  which  you  did  swear  to  keep  for  me, 
I  will  become  as  liberal  as  you: 
I'll  not  deny  him  anything  I  have. 

Nerissa,     And  I  his  clerk;  therefore  be  well  ad- 
vised. 


Scene  IJ  MERCHANT  OF  VENICE  99 

How  you  do  leave  me  to  mine  own  protection. 

Gratiano.     Well,  do  you  so:  let  not  me  take  him 
then; 
For,  if  I  do,  I'll  mar  the  young  clerk's  pen. 

Antonio,    I  am  the  unhappy  subject  of  these  quar- 
rels. 230 

Portia,     Sir,  grieve  not  you;    you  are  welcome 
notwithstanding. 

Bassanio.    Portia,  forgive  me  this  enforced  wrong; 
And,  in  the  hearing  of  these  many  friends, 
I  swear  to  thee,  even  by  thy  own  fair  eyes. 
Wherein  I  see  myself,  — 

Portia,  Mark    you    but    that! 

In  both  my  eyes  he  doubly  sees  himself: 
In  each  eye  one :  —  swear  by  your  double  self, 
And  there's  an  oath  of  credit. 

Bassanio,  Nay,   but   hear   me. 

Pardon  this  fault,  and  by  my  soul  I  swear 
I  never  more  will  break  an  oath  with  thee.  240 

Antonio.     I  once  did  lend  my  body  for  his  wealth; 
Which,  but  for  him  that  had  your  husband's  ring, 
Had  quite  miscarried :  I  dare  be  bound  again, 
My  soul  upon  the  forfeit,  that  your  lord 
Will  never  more  break  faith  advisedly. 

Portia,     Then  you  shall  be  his  surety.     Give  him 
this; 
And  bid  him  keep  it  better  than  the  other. 

Antonio.     Here,  lord  Bassanio;    swear  to  keep 
this  ring. 

Bassanio,     By  heaven,  it  is  the  same  I  gave  the 
doctor! 

Portia,     You  are  all  amazed:  250 


100  MERCHANT  OF  VENICE  [Act  V 

Here  is  a  letter;  read  it  at  your  leisure; 

It  comes  from  Padua,  from  Bellario: 

There  you  shall  find  that  Portia  was  the  doctor; 

Nerissa  there  her  clerk:  Lorenzo  here 

Shall  witness  I  set  forth  as  soon  as  you 

And  even  but  now  return'd ;  I  have  not  yet 

Enter'd  my  house. — Antonio,  you  are  welcome; 

And  I  have  better  news  in  store  for  you 

Than  you  expect:   unseal  this  letter  soon; 

There  you  shall  find  three  of  your  argosies  260 

Are  richly  come  to  harbor  suddenly: 

You  shall  not  know  by  what  strange  accident 

I  chanced  on  this  letter. 

Antonio,  I  am  dumb. 

Bassanio.     Were  you  the  doctor,  and  I  knew  you 
not? 

Antonio.     Sweet  lady,  you  have  given  me  life  and 
living; 
For  here  I  read  for  certain  that  my  ships 
Are  safely  come  to  road. 

Portia,  How  now,  Lorenzo! 

My  clerk  hath  some  good  comforts  too  for  you. 

Nerissa.     Ay,  and  I'll  give  them  him  without  a 
fee.  — 
There  do  I  give  to  you  and  Jessica,  270 

From  the  rich  Jew,  a  special  deed  of  gift, 
After  his  death,  of  all  he  dies  possessed  of. 

Lorenzo.     Fair  ladies,  you  drop  manna  in  the  way 
Of  starved  people. 

Portia.  It  is  almost  morning. 

And  yet  I  am  sure  you  are  not  satisfied 
Of  these  events  at  full.     Let  us  go  in; 


Scene  I]  MERCHANT  OF  VENICE  101 

And  charge  us  there  upon  inter'gatories. 
And  we  will  answer  all  things  faithfully. 

Gratiano,     Well,  while  I  live  I'll  fear  no  other 
thing 
So  sore  as  keeping  safe  Nerissa's  ring.  280 

[Exeunt. 


DETAILED   QUESTIONS   ON  THE  PLAY 

Act  I.  Scene  1.     1.   What  weighs  on  Antonio's  mind  as  the 
play  opens? 

2.  What  does  Bassanio  want  of  Antonio? 

3.  How  should  "Believe  me'*  in  line  76  be  read  so  as  to  show  its 
difference  from  the  current  slang  expression? 

4.  How  does  the  first  scene  appear  to  be  a  key-note  for  the  rest 
of  the  play? 

Act  I.  Scene  2.     1.    What  is  the  cause  of  Portia's  weariness  of 
which  she  speaks  in  her  opening  lines? 

2.  What  does  this  scene  show  regarding  the  circumstances  of 
Portia's  life  up  to  this  time? 

3.  What  does  the  scene  show  regarding  Portia's  attitude  to 
Bassanio? 

Act  I.  Scene  3.     1.   What  does  Bassanio  want  of  Shylock? 

2.  What  is  Shylock's  attitude  toward  Antonio? 

3.  What  is  the  important  point  in  the  conclusion  of  the  arrange- 
ment for  a  loan  by  Shylock  to  Antonio? 

4.  What  did  the  Rialto  stand  for  in  the  mind  of  the  dramatist  as 
shown  by  this  scene  and  by  the  first  scene  of  the  third  act? 

5.  How  do  you  think  the  "public  place"  should  be  represented 
on  the  stage? 

6.  When  did  the  devil  cite  Scripture? 

7.  Why  does  the  scene  end  with  a  couplet? 

Act  II.  Scene  1.     1.   What  were  the  conditions  under  which 
Portia's  hand  was  to  be  obtained  in  marriage? 

2.  What  do  the  allusions  in  Morocco's  second  speech  mean? 

3.  Why  does  not  Shakespeare  have  Morocco  choose  a  casket  in 
this  scene? 

Act  II.  Scene  2.     1.   What  light  does  this  scene  throw  on  the 
character  of  Shylock? 

2.  What  does  the  scene  show  about  Bassanio's  plans? 

3.  How  do  you  account  for  the  shift ings  from  prose  to  verse? 


104  QUESTIONS 

4.  What  is  the  author's  purpose  in  including  the  clown  Launcelot 
among  the  characters  of  the  play? 

5.  What  does  Launcelot  do  when  he  says,  "You  may  tell  every 
finger  I  have  with  my  ribs"? 

Act  II.  Scene  3.     1.   What  additional  information  about  the 
character  of  Shylock  do  you  glean  from  this  scene? 

2.   What  sort  of  room  would  you  have  on  the  stage  here? 

Act  II.  Scene  4.     1.   What  does  the  scene  show  about  Lorenzo's 
plans? 

2.   What  idea  have  you  of  a  Venetian  masque? 

Act  II.  Scene  5.     1.   \\Tiat  traits  does  Shylock  show  while  he 
talks  to  Jessica  here? 

2.   What  meaning  do  you  get  from  Launcelot's  speeches? 

Act  n.  Scene  6.     1.  What  sort  of  person  does  Gratiano  appear 
to  be? 

2.  What  is  Jessica  planning  to  do? 

3.  In  what  respects  are  her  actions  like  the  action  of  the  Israelites 
when  they  left  Egypt? 

Act  II.  Scene  7.     1.   Why  did  Morocco  choose  the  golden  casket? 

2.  What  harm  does  the  love  of  gold  do  in  this  play? 

3.  What  is  the  difference  between  proper  self-appreciation  and 
conceit? 

4.  What  is  there  to  show  that  other  persons  before  Morocco  had 
tried  to  make  the  right  choice? 

.5.   Did  Portia  know  which  casket  contained  her  picture? 

Act  II.  Scene  8.     1.  What  is  the  significance  of  Salarino*s  saying 
that  he  had  heard  of  the  wreck  of  a  richly  laden  merchant  vessel? 

2.  How  much  time  has  elapsed  since  the  signing  of  the  bond? 

3.  What  are  the  relations  between  Antonio  and   Bassanio  as 
evidenced  by  this  scene? 

Act  II.  Scene  9.     1.  To  what  "election"  does  Arragon  come? 

2.  What  do  you  think  of  the  Prince  of  Arragon? 

3.  What  justification  can  you  give  for  the  reasoning  that  led 
Arragon  to  choose  the  silver  casket? 

4.  Why  is  the  "schedule'*  in  a  different  verse  form  from  that 
usual  in  the  play? 


QUESTIONS  105 

5.  What  opinion  have  you  formed  of  Portia  from  her  deport- 
ment while  the  ceremony  of  the  choosing  of  the  caskets  by  Morocco 
and  Arragon  has  been  going  on? 

Act  III.  Scene  1.  1.  How  does  it  come  about  that  Shylock  is 
alternately  elated  and  depressed  during  this  scene? 

2.  Are  your  sympathies  aroused  for  Shylock? 

3.  What  is  the  substance  of  Shylock's  speech  that  begins  with 
the  phrase,  "To  bait  fish  withal"? 

4.  How  do  Salanio  and  Salarino  differ  from  each  other  and  from 
other  characters  in  the  play?  Do  these  men  seem  as  real,  flesh  and 
blood  people  as  other  persons  of  the  drama? 

5.  How  does  this  scene  prepare  you  for  something  that  is  to 
follow? 

Act  III.  Scene  2.  1.  What  led  Bassanio  to  choose  the  leaden 
casket? 

2.  Under  what  circimistances  do  boys  and  girls  nowadays  have 
to  make  choices  corresponding  in  any  respects  with  Bassanio's 
choice? 

3.  What  is  there  to  admire  in  Portia's  words  and  conduct? 

4.  Who  sings  the  song? 

5.  What  help  did  the  song  give  to  Bassanio? 

6.  Why  did  Portia  give  Bassanio  a  ring? 

7.  What  is  the  dramatic  use  of  the  letter  that  Bassanio  received? 

8.  What  two  leading  characters  of  the  play  are  not  on  the  stage 
during  this  scene? 

9.  After  this  scene,  how  should  the  play  in  your  opinion  be  con- 
cluded? 

10.  Why  is  not  the  marriage  performed  on  the  stage? 

Act  III.  Scene  3.  1.  Why  does  the  dramatist  have  Shylock 
keep  saying,  "1*11  have  my  bond"? 

2.  What  silent  person  is  on  the  stage  in  this  scene? 

3.  Why  does  he  not  take  part  in  the  conversation? 

4.  WTiat  do  you  find  to  praise  in  Antonio's  manner? 

Act  III.  Scene  4.     1.   What  was  Portia's  plan? 

2.  How  far  was  Belmont  from  Venice? 

3.  How  does  the  author  try  to  make  the  carrying  out  of  the 
plan  seem  plausible? 

4.  What  speech  of  Portia's  sounds  something  like  a  speech  of 
Rosalind's  in  As  You  Like  It  ? 


106  QUESTIONS 

5.  Has  Portia  seemed  to  you  to  grow  in  womanliness  as  the  story 
has  developed? 

Act  III.  Scene  5.  1.  Which  interest  seems  to  you  the  stronger 
in  the  third  act  —  the  matter  of  the  caskets  or  the  matter  of  the 
loan? 

2.  Of  what  dramatic  use  is  the  fifth  scene  of  the  act? 

3.  Which  of  the  three  characters  of  the  scene  shows  the  keenest 
wit? 

Act  IV.  Scene  1.  1.  Where  on  the  stage  would  you  place  the 
characters  that  take  part  in  this  scene?  [Draw  a  sketch  showing 
the  position  of  each.] 

2.  What  gestures  or  motions  would  be  appropriate  for  each 
character  as  determined  by  the  words  spoken? 

3.  As  if  you  were  a  spectator,  tell  just  what  happened  in  the 
court  of  justice. 

4.  What  humorous  incidents  occurred  during  this  long  scene? 

5.  What  improbabilities  do  you  detect? 

6.  What  was  the  sentence  pronounced  by  Portia  on  Shylock? 

7.  In  what  respect  does  the  sentence  seem  to  you  unjust? 

8.  What  names  do  various  characters  of  the  play  call  Shylock? 
Which  of  these  are  in  your  opinion  undeserved  by  him? 

9.  Which  speech  of  Portia's  and  which  speech  of  Antonio's  do 
you  find  most  pleasing  in  this  scene?     Why  pleasing? 

10.  How  are  love  and  revenge  contrasted  in  the  scene? 

11.  What  legal  right  had  Portia  to  be  a  lawyer  in  the  play? 

Act  IV.  Scene  2.  1.  Why  is  the  giving  of  the  rings  put  here  in 
a  scene  by  itself? 

2.  WTiy  does  not  the  play  end  with  the  decision  in  the  court  of 
justice? 

3.  Was  Bassanio  right  in  giving  the  ring  to  the  lawyer? 

Act  V.  Scene  1.     1.   Describe  a  moonlight  night  at  Belmont. 

2.  How  does  this  scene  give  a  sense  of  calm  repose  to  the  con- 
clusion of  the  story? 

3.  What  beautiful,  poetic  effects  would  be  lost  if  this  scene  were 
not  included  in  the  play? 

4.  What  sprightly  fun  comes  at  the  end  of  the  play? 

6.   Which  characters  of  the  play  "lived  happily  ever  after"? 


COMMENTS,   TOPICS,  AND   GENERAL 
QUESTIONS   ON   THE   PLAY 

Dramatic  Element.     1.    (a)   What  is  the  meaning  of  each  of 
the  following:  —  literature,  poetry,  drama,  and  comedy^ 
(6)    Discuss  The  Merchant  of  Venice  as  a  comedy, 
(c)    What  do  you  know  about  plays  and  theaters.'^ 
{d)   What  has  the  theater  meant  to  you  up  to  this  time.^ 

2.  (a)  Sir  Henry  Irving  took  in  as  gross  receipts  about  $3,500,000 
from  performances  of  Shakespearian  plays.  How  do  you  account 
for  the  continuing  popularity  of  Shakespeare's  plays? 

(6)  What  disadvantages  has  a  moving  picture  presentation  of 
The  Merchant  of  Venice  in  comparison  with  a  regular  theatrical 
performance?     What  advantages? 

(c)  What  gain  is  there  through  the  presentation  of  the  story  of 
The  Merchant  of  Venice  in  the  form  of  a  play  rather  than  in  the  form 
of  a  novel? 

3.  A  theatrical  manager  lately  offered  to  buy  good  plays  pre- 
ceded by  interesting  250-word  synopses.  Write  for  The  Merchant 
of  Venice  such  an  interesting  synopsis  that  it  would  be  likely  to 
make  a  manager  want  to  read  the  play  itself. 

4.  Who  is  the  best  Portia  playing  this  season?  The  best  Shy  lock? 
Whom  have  you  seen  taking  these  parts?  Why  does  the  leading 
actor  select  the  part  of  Shy  lock  for  himself? 

5.  Mention  an  interesting  play  written  by  one  of  the  following 
Elizabethan  dramatists:  Marlowe,  Lyly,  Peele,  Kyd,  Greene,  Lodge, 
Jonson,  Chapman,  Dekker,  Middleton,  Heywood,  Beaumont  and 
Fletcher,  Massinger,  and  Webster. 

6.  Richard  Mansfield  made  Shylock  "a  creature  of  intense  hatred, 
an  instrument  of  malignant  revenge  for  personal  injury."  Criticize 
this  ideal  of  Shylock. 

7.  Mansfield  as  Shylock  *'wore  a  bristly,  grizzled  beard;  sparse, 
iron-gray  hair  curled  about  his  ears  and  neck;  his  eyes  were  keen 
and  restless;  there  were  the  deep  lines  of  an  implacable  nature  written 
on  his  visage.  About  his  form  hung  the  long  skirts  of  his  dull-brown 
gaberdine.'*  How  does  this  idea  of  Shy  lock's  appearance  accord 
with  your  own? 

8.  What  part  of  the  play  would  you  like  to  take?    Reasons. 


108  COMMENTS   AND  TOPICS 

9.  If  you  were  stage  manager  for  an  amateur  performance  of 
the  play,  what  arrangements  would  you  make  for  scenery  and  cos- 
tumes? 

10.  Make  note  of  several  passages  that  are  so  good  as  poetry  or 
so  interesting  as  comedy  that  you  think  they  deserve  to  be  read 
aloud  or  spoken  from  memory.  What  scenes  do  you  enjoy  most 
when  they  are  informally  presented  in  the  class  room  under  the 
direction  of  one  of  the  pupils  for  the  special  entertainment  of  the 
teacher  and  the  members  of  the  class  who  are  not  assigned  parts? 

11.  Where  is  this  play  sometimes  presented  now  very  much  as 
it  was  in  Shakespeare's  time? 

12.  What  scenes  could  be  omitted  without  spoiling  the  onward 
action  of  the  story? 

The  English  Used.  13.  In  what  respects  does  Shakespeare's 
grammatical  standard  seem  to  you  different  from  your  o\\ti  gram- 
matical standard?  For  example,  would  you  say,  "there  be  land-rats 
and  water-rats"?  Point  out  as  many  instances  as  you  can  where 
your  way  of  saying  a  thing  would  be  different  from  that  in  the  play. 

14.  In  what  respects  does  Shakespeare's  rhetorical  standard  seem 
less  strict  than  yours?  For  instance,  would  you  say,  *'As  they  fly 
by  them  with  their  woven  wings,"  when  the  they  refers  to  argosies  and 
the  them  refers  to  traffickers? 

15.  In  what  respects  does  Shakespeare's  use  of  words  differ  from 
yours?  Give  illustrations  of  his  use  of  words  in  senses  different 
from  the  meanings  with  which  you  are  acquainted.  For  instance, 
look  at  the  word  stUl  in  line  136  of  Act  I,  Scene  1. 

16.  Make  a  glossary  containing  twenty-five  words  that  either 
seem  to  you  in  the  play  to  be  used  in  peculiar  senses  or  else  seem 
strange  and  difficult  themselves.  Include,  for  example,  such  words 
as  these  of  the  first  scene:  argosies,  traffickers,  alabaster,  gudgeon, 
presages.  Be  sure  to  arrange  them  in  strict  alphabetical  order,  as  a 
glossary  should  be,  arranged,  and  give  as  clear,  crisp  definitions  as 
you  can. 

17.  Note  the  allusions  to  classical  stories  in  such  lines  as,  "  Though 
Nestor  swear  the  jest  be  laughable,"  where  the  speaker  refers  to 
Nestor  as  the  oldest  and  gravest  of  the  Greeks  who  took  part  in  the 
Trojan  war  —  any  dictionary  of  proper  names  will  show  you  this; 
"Which  makes  her  seat  of  Belmont  Colchos*  strand,'*  where  the 
reference  is  to  the  old  story  of  the  golden  fleece  —  Belmont,  the 
home  of  the  rich  heiress,  is  compared  with  Colchos,  the  land  where 
the  golden  fleece  was  kept;  "Should  fall  as  Jacobus  hire,"  where  the 
speaker  is  making  use  of  a  reference  to  a  story  in  the  Bible;  "Where 
Phcebus*  fire  scarce  thaws  the  icicle,"  where  the  word  Phoebus  refers 


COMMENTS   AND   TOPICS  109 

to  the  sun,  according  to  a  classical  story  which  can  easily  be  found 
in  any  book  of  classical  mythology,  like  Gayley's  valuable  work. 
What  other  classical  allusions  do  you  find  in  the  play? 

18.  Give  several  illustrations  of  verbal  embroidery,  that  is, 
figurative  expressions,  in  the  third  act. 

19.  Using  the  same  kind  of  versification  predominant  in  the  play, 
compose  a  speech  to  be  spoken  by  Portia  in  place  of  one  of  her  speeches 
of  the  fourth  act. 

Contents  of  the  Play.  20.  (a)  Enumerate  the  characters 
concerned  in  the  first  main  plot  of  the  play;  the  second  main  plot. 

(6)  Name  two  characteristics  of  each  of  the  following  persons  of 
the  drama,  and  explain  how  each  trait  appears  from  the  words  or 
actions,  or  from  both  the  words  and  actions,  of  the  character: 
Antonio,  Shylock,  Bassanio,  Portia,  Lorenzo,  Jessica,  Gratiano, 
Nerissa,  and  Launcelot. 

(c)  Can  you  name  two  more  essential  characteristics  for  Shylock 
than  these  two  —  miserliness  and  revengefulness.'* 

21.  Group  the  characters  in  divisions  according  to  some  scheme 
of  your  own. 

22.  Portia  has  been  called  mentally  superior  to  every  other 
character  in  the  play.     Do  you  consider  her  so.^     Reasons. 

23.  Why  would  it  be  fair  or  unfair  to  call  Bassanio  a  fortune- 
hunting  adventurer.'* 

24.  What  good  word  can  you  say  for  Shylock? 

25.  Of  the  three  love  stories  in  the  play,  which  one  illustrates  the 
old  adage,  "The  course  of  true  love  never  runs  smooth],*? 

26.  Would  you  call  either  revenge  or  justice  the  central  idea  or 
theme  of  the  whole  play?  If  neither  of  these  satisfies  you,  what  do 
you  consider  to  be  the  theme? 

27.  As  an  exercise  in  the  valuation  of  words  and  ideas,  reduce 
the  action  of  the  entire  play  to  a  concise  summary  of  one  hundred 
words. 

28.  Summarize  each  plot  in  two  hundred  words. 

29.  Comment  on  this  as  a  summary  of  one  plot:  "The  borrowing 
of  a  sum  of  money  by  a  wealthy  merchant  of  Venice  to  equip  a  young 
friend  for  the  courtship  of  a  rich  and  beautiful  lady.'*  Compare 
this  kind  of  summary  with  the  sort  given  in  the  Introduction, 
page  XV. 

30.  The  winning  of  an  heiress  by  means  of  a  choice  of  caskets. 

31.  Pathos  in  the  play. 

32.  Portia's  suitors. 

33.  Describe  Portia. 

34.  The  clown's  part. 


110  COMMENTS   AND   TOPICS 

35.  Write  a  topical  outline  for  a  narrative  of  thft  ring  story. 

36.  Gobboisms. 

37.  Puns  in  the  play. 

38.  Imaginative  word-picture  of  the  scene  at  the  moment  when 
Bassanio  chose  the  right  casket. 

39.  Make  a  table  showing  eight  different  days  on  which  events 
of  the  play  happen,  and  estimate  the  intervals  of  time  that  probably 
elapse  between  some  of  these  days. 

40.  Paraphrase  the  quality  of  mercy  speech. 

41.  Describe  what  could  have  been  seen  in  the  court  of  justice 
at  the  most  exciting  moment  of  the  trial.  » 

42.  From  the  play,  what  do  you  learn  about  Venipe?  About 
Belmont? 

43.  In  what  particulars  do  you  consider  the  first  act  a  good  in- 
troduction for  the  play? 

44.  What  is  the  artistic  use  of  the  fifth  act? 

45.  What  debatable  propositions  can  you  frame  based  on  the 
play? 

46.  Why  did  Shakespeare  have  Morocco  ready  to  choose  a  casket 
in  the  first  scene  of  the  second  act,  and  then  make  the  audience 
wait  till  the  seventh  scene  before  the  showing  of  the  actual  selection 
of  the  gold  casket  by  Morocco? 

47.  Copy  the  expressions  or  the  short  detached  passages  that 
you  have  seen  or  heard  quoted  from  this  play. 

48.  Copy  two  longer  selections,  each  of  ten  or  more  consecutive 
lines,  that  would  be  worth  committing  to  memory.  Learn  one  of 
these  selections. 

49.  Comment  on  the  following  opinion  of  the  play:  "The  great 
lesson  of  life  is  taught,  and  the  last  act  of  the  play  opens  with  the 
Jew  and  the  Gentile,  representing  any  two  forms  of  bitter  antagonism, 
in  embrace  of  love  under  the  calm  expanse  of  heaven."  {See  page 
xiv,  of  Introduction.) 

50.  'What  great  lesson  of  life  do  you  discover  in  the  play? 


PROGRAM  OF  DRAMATIC  ENTERTAINMENT 

The  Merchant  of  Venice 

by 

William  Shakespeare 

as  enacted  by 

The  2A  Latin  Boys  in  English  Class 

January,  1914 

at  the 

Richmond  Hill  High  School 

Scene  1 
From  page  7,  Line  119.    Antonio.    Well,  tell  me  now,  what  lady 

is  the  same  .  .  . 
Through  page  9,  Line  185.    Antonio.     And  I  no  question  make, 

to  have  it  at  my  trust  or  for  my  sake. 

Scene  2  • 

From  page  14,  Line  1.      Shylock.     Three  thousand  ducats,  — 

well  .  .  . 
Through  page  20,  Line  176.     Antonio.     My  ships  come  home  a 

month  before  the  day. 

* 

Scene  3 
From  page  51,  Line  1.     Portia.     I  pray  you,  tarry  .  .  . 
Through  page  62,  Line  317.    Portia.    O  love,  dispatch  all  busi- 
ness, and  be  gone.  *    . 

Scene  4 
From  page  75,  Line  116.     Duke.     Came  you  from  Padua,  from 

Bellario   .    .    . 
Through  page  86,  Line  417.    Portia.     I  wish  you  well,  and  so 

I  take  my  leave. 

Notes  by  the  Coach 
A  committee  of  five  was  selected  by  the  class  three  weeks  before 
the  play  was  given.     A  chairman,  a  secretary,  and  a  coa6h,  all 


112  MERCHANT  OF  VENICE 

of  whom  were  members  of  the  student  committee,  were  appointed 
by  the  committee. 

It  was  decided  that  by  the  use  of  the  foregoing  selected  portions 
of  the  play  the  main  parts  of  the  story  could  be  given  in  a  singh 
period  of  forty  minutes. 

The  cast  of  the  characters  and  the  list  of  scenes  to  be  presented 
were  printed  on  the  board  before  the  beginning  of  the  regular 
recitation  period  that  had  been  assigned  by  the  teacher  for  this 
entertainment. 

The  introduction  to  the  play  and  the  description  of  the  scenes 
were  given  by  the  coach.      [Raymond  Browne  was  the  coach,  and 
Howard  Malmar  was  the  chairman.  —  Editor.] 
The  properties  needed  were: 
A  big  knife  [for  Shy  lock]. 

Three  caskets  [colored   paste-board  boxes  served  for  these]. 
A  scroll. 
A  letter. 
The  general  directions  given  to  the  actors  by  the  coach  were : 
Keep  your  self-possession. 

Face  the  audience,  but  do  not  seem  to  be  looking  at  individ- 
uals. 

Speak  distinctly  so  that  the  audience  can  understand  what 
you  say. 

Imagine  yourself  to  be  the  person  acting,  and  act  as  if  you 
were. 

Before  the  first  scene  the  coach  said: 

Doctor  Gaston  and  Class-mates,  —  The  dramatic  committee 
selected  by  the  class  will  present  to  you  The  Merchant  of  Venice. 
The  cast  of  characters  and  the  scenes  to  be  presented  are  on  the 
black-board.  The  students  who  present  this  play  this  afternoon 
wish  me  to  say  that  their  aim  is  to  give  you  a  boys'  interpretation 
of  the  old  play  by  William  Shakespeare.  The  costumes  you  will 
see  have  not  arrived;  the  properties  are  scarce.  Imagine  for  the 
first  scene  a  public  park,  surrounded  by  noble  Venetian  houses  of 
imposing  appearance,  a  marble  fountain  playing  in  the  centre. 

Before  the  second,  third,  and  fourth  scenes  the  coach  spoke  as 
follows: 

Scene  2.  A  quiet  place  upon  the  Rialto  island.  A  part  of  the 
marble  structure  at  the  side  of  the  bridge  going  over  the  canal 
forms  a  pleasing  background. 

Scene  3.  A  sumptuous  apartment  in  Portia's  home.  Rich  in 
draperies  and  furnishings,  it  is  a  fitting  setting  for  the  game  of 
chance  to  be  played  there,  in  which  the  prize  is  the  beautiful 


DRAMATIC   ENTERTAINMENT  113 

Portia  herself.  In  this  room  are  three  caskets;  one  gold,  one 
silver,  and  one  lead.  In  one  of  these  is  a  portrait  of  Portia. 
Whichever  one  of  Portia's  suitors  chooses  this  casket  may  claim 
Portia  for  his  bride.  The  golden  and  silver  ones  have  already 
been  chosen  without  success  by  other  suitors.  Now  comes  Bas- 
sanio  to  try  his  fortune.  He  does  not  know,  of  course,  which 
casket  is  the  lucky  one,  and  his  choice  is  shown  in  this  scene. 
r"  Scene  4.  The  Venetian  court.  A  long  hall  of  stone,  dimly 
lighted  by  large  stained-glass  windows.  There  is  a  high  desk  for 
the  judge,  and  there  are  several  smaller  ones  for  other  dignitaries. 
Near  this  desk  is  the  prisoner's  box.  It  is  in  this  court  that  An- 
tonio, the  Merchant  of  Venice,  is  to  be  tried  for  default  of  pay- 
ment of  the  bond.  The  Jew,  Shylock,  has  dropped  his  mask  of 
pretended  merriment,  and  now  demands  the  pound  of  flesh  stipu- 
lated in  the  bond. 


GLOSSARY 

Alcides,  another  name  for  Hercules. 

Andrew,  name  given  to  a  large  ship  that  was  used  for  commerce. 

argosies,  large  merchant  ships. 

baned,  poisoned. 

*bated,  reduced,  lowered. 

burghers,  freemen  of  a  burgh  or  borough;   citizens. 

cater-cousins,  intimate  friends. 

cerecloth,  cloth  dipped  in  melted  wax  and  used  for  wrapping  a 
dead  body. 

Charybdis,  a  dangerous  whirlpool  on  the  Sicilian  coast,  oppo- 
site Scylla;   personified  as  a  female  monster. 

Colchos,  a  mythical  land  east  of  the  Black  Sea  to  which  Jason 
went  in  quest  of  the  golden  fleece.     Also  called  Colchis. 

commends,  compliments,  greetings. 

compromised,  bound  by  an  agreement. 

continent,  that  which  holds  or  contains. 

Cressid,  a  beautiful  young  Trojan  woman,  faithless  to  her  lover, 
Troilus. 

Cupid,  the  god  of  love.     He  was  the  son  of  Venus. 

Dardanian  wives,  Trojan  women. 

Diana,  Roman  goddess  of  motherhood. 

Dido,  queen  of  Carthage,  deserted  by  iEneas.  See  Virgil's 
Mneid. 

doit,  coin  of  little  value. 

dulcet,  sweet  to  the  ear. 

dtmib-show,  pantomime;  a  dramatic  representation  with  action 
but  no  talking. 

eanlings,  newborn  lambs. 

eke,  increase,  extend. 

Endjrmion,  a  young  shepherd  loved  by  the  moon  goddess,  who 
caressed  him  while  he  was  in  an  enchanted  sleep. 

Erebus,  gloomy  dark  space  through  which  souls  pass  to 
Hades.  —  Greek  mythology. 

fall,  let  fall,  give  birth  to. 

fear*d,  caused  to  fear. 

flats,  shallows,  shoals.     In  the  United  States,  the  term  is  now 


GLOSSARY  115 

applied  to  the  shallows  at  the  mouth  of  the  St.  Clair  River,  where 
it  empties  into  Lake  St.  Clair;  these  shallow  places  are  called 
"The  Flats." 

frutify,  perhaps  for  certify.  Launcelot  has  a  knack  for  getting 
words  twisted. 

gaberdine,  coarse  loose  coat. 

gear,  affair,  business. 

Goodwins,  shallows  east  of  southern  England. 

gramercy,  a  word  expressing  surprise  or  thanks. 

gtiarded,  ornamented  with  lace. 

gudgeon,  small  fish  of  little  value. 

habit,  dress. 

Hercules,  Greek  hero,  celebrated  for  his  strength. 

Hyrcanian  deserts,  region  south  of  the  Caspian  Sea. 

Janus,  Roman  god  of  gates  and  doors;  represented  with  two 
opposite  faces. 

Jasons,  an  allusion  to  the  story  of  Jason  who  in  Greek  mythol- 
ogy won  the  golden  fleece. 

knapped,  nibbled  or  gnawed. 

Lichas,  page  of  Hercules. 

magnificoes,  chief  men  of  Venice. 

mantle,  take  on  a  covering,  as  of  froth  or  scum;  about  the 
same  as  creamy  in  the  same  line  of  the  play. 

Mars,  the  god  of  war. 

Medea,  an  enchantress,  in  Greek  mythology.  She  helped 
.Jason  to  win  the  golden  fleece  and  later  restored  his  aged  father, 
Aeson,  to  youthful  strength  by  putting  juices  of  magic  herbs  in 
his  veins. 

mere,  nothing  other  or  less  than;   unqualified. 

Midas,  an  ancient  king,  who  in  Greek  mythology  asked  that 
everything  he  touched  might  be  turned  to  gold  but  who  asked 
that  this  power  might  be  taken  away  from  him  when  he  found 
that  his  food  turned  to  gold. 

moe,  more. 

moiety,  a  half  or  an  indefinite  part. 

Nazarite,  Jesus,  who  drove  the  evil  spirits  into  the  herd  of 
swine.  See  Matthew  8:  32.  Nazarite  strictly  means  a  man  who 
does  not  cut  his  hair.  Jesus  is  now  called  a  Nazarene,  or  Man  of 
Nazareth. 

Nestor,  wise  old  hero  of  the  Trojan  war.     See  Homer's  Odyssey. 

Orpheus,  a  Thracian  musician  who,  according  to  old  mythol- 
ogy, had  the  power  of  charming  beasts  and  making  rocks  and  trees 
move  to  the  sound  of  his  lyre. 


116  GLOSSARY 

ostent,  air,  manner. 

pageants,  movable  structures  on  which  plays  were  performed 
in  the  streets;   often  in  the  shape  of  towers,  castles,  or  ships, 
patch,  jester,  domestic  fool, 
patines,  plates. 

peize,  weigh  down,  retard,  delay. 

pied,  with  large  blotches  of  two  or  more  colors;  parti-colored, 
spotted. 

port,  bearing,  demeanor, 
posy,  motto  inscribed  on  a  ring, 
presages,  foretells,  predicts, 
presently,  immediately,  at  once, 
prevented,  anticipated, 
publican,  collector  of  toll. 

Pythagoras,  a  Greek  philosopher  who  believed  in  the  trans- 
migration of  souls. 

quiring,  singing  in  concert,  as  a  choir, 
rasher,  thin  slice  of  bacon  or  ham. 
regreets,  greetings. 

rheum,  discharge  from  nose  of  person  having  a  cold. 
Rialto,  the  Venetian  island  where    "merchants  most  do  con- 
gregate," now  the  name  of   a  bridge  over  the  Grand  Canal  in 
Venice, 
scanted,  limited, 
scrubbed,  stunted,  scrubby, 
scruple,  a  small  weight,  20  grains. 

Scylla,  a  dangerous  rock  on  the  Italian  coast;   personified  as  a 
sea  monster  encircled  by  barking  dogs. 

sensible,  tangible,  perceptible  to  the  senses. 
Sibylla,  sibyl;  a  prophetess  who  wanted  to  live  for  many  years, 
signiors,  lords,  fine  gentlemen, 
sonties,  sanctity. 

Sophy,  Persian  emperor;  derived  from  soffi,  wise  man. 
sort,  arrange,  dispose, 
stead,  help. 

still,  always,  continually. 

strange,  reserved,  distant  in  bearing  or  manner. 
Thisbe,  a  Babylonian  maiden  who  when  going  to  meet  her 
lover,  Pyramus,  saw  a  lion  that  had  been  eating  an  ox.  Thisbe 
fled,  leaving  her  veil  behind.  When  Pyramus  came  to  the  meet- 
ing place  and  saw  the  lion  with  the  veil  in  his  bloody  mouth,  he 
killed  himself.  Then  Thisbe  came  back,  and,  seeing  Pyramus 
dead,  killed  herself  also.     Chaucer  telk  the  story  in  his  Legende  of 


GLOSSARY  117 

Goode  Women.  See  also  Ovid's  Metamorphoses  and  Shakespeare's 
Midsummer  Night's  Dream. 

tranect,  ferry. 

Troilus,  son  of  Priam  of  Troy;  an  allusion  to  a  good  story  told 
by  Shakespeare  in  his  play,  Troilus  and  Cressida,  and  by  Chaucer 
in  his  poem,  Troylus  and  Cryseyde. 

usance,  interest,  usury. 

vailing,  letting  down. 

Venus'  pigeons,  doves  that  drew  the  chariot  of  Venus,  the 
goddess  of  love. 

virgin  tribute,  an  allusion  to  the  rescue  by  Hercules  of  a  young 
Trojan  woman  who  had  been  chained  by  her  father  to  a  rock,  to 
be  devoured  by  a  sea  monster,  as  a  tribute  to  Neptune,  the  god 
of  the  sea. 

waft,  wafted. 

want 'wit,  dunce,  simpleton. 

wauling,  wailing,  howling,  mewling.  The  Variorum  reads 
"woolen";  sometimes  bagpipes  had  a  woolen  covering. 

weeping  philosopher,  Heraclitus,  who  was  a  melancholy  Greek 
philosopher  accustomed  to  mourn  over  the  follies  of  mankind. 


14  DAY  USE 

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